A View from the Atlantic Sobey Art Award - Art Gallery of Nova Scotia

2009Shary Boyle, Live Old, 2009, Porcelain, enamel, gold lustre, glass beads,22D x 22W x 27HLuanne Martineau, Dangler (detail), 2008, dyed wool, silk fibre, pin-felted wool,industrial felt and thread, 276.9 x 66 x 71.1 cm, Courtesy of the artist and JessicaBradley Art + Projects, TorontoGraeme Patterson, Grudge Match, Still from stop-motion animation, entitled GrudgeMatch, Graeme Patterson, 2009September 5 to November 5, 20098The Art Gallery of Nova Scotia ispleased to present the return ofthe Sobey Art Award. This yearmarks the sixth presentation ofthe award since its inceptionin 2002, and the fourth timethe award has been held atthe AGNS. Vying for the 2009prize are Graeme Patterson,representing the Atlantic region,David Almejd for Québec,Shary Boyle for Ontario and,representing the Prairies andThe North and the West Coastand Yukon respectively, MarcelDzama and Luanne Martineau.As in every year since 2002, themembers of the 2009 CuratorialPanel developed this shortlistfrom a longlist of 25 of thecountry’s best artists, five fromeach of five regions in Canada.This was no easy task for thepanel, which includes Liz Wylie,Curator, Kelowna Art Gallery;Kitty Scott, Director, Visual Arts,The Banff Centre; Ivan Jurakic,Curator, Cambridge Galleries;Louise Déry, Director/Curator,Galerie de l’université duQuébec à Montréal; Terry Graff,Curator and Deputy Director,Beaverbrook Art Gallery.“Faced with the benefit of auniformly strong selection ofcandidates, the jury came to aunanimous consensus on thisyear’s shortlist. Addressing boththe local and the global, theseartists make works that encapsulatemateriality and conception,scale and complexity, representationand irrationality. Each artistshares a depth of commitmentto their creation and explorationof idiosyncratic worlds that arereal, imagined, and fantastical.”2009 Curatorial PanelThis year’s panel fulfilledtheir responsibility wonderfullywith a selection of artistswhose works share one othercommon element: the humanfigure. Whether it be in thedarkly-poetic, morphing formsof Shary Boyle’s paintings andceramics, the fragmented andsomewhat tortured figures inDavid Altmejd’s The Settler andLuanne Martineau’s Dangler, orthe various characters shown inthe dioramas of Marcel Dzamaor animated in Graeme Patterson’sGrudge Match, the worksin this year’s SAA exhibition depictfigures with a multiplicityof representation, meaning andmateriality rarely seen in groupexhibitions. As a result, the humanform takes on, collectivelyin the context of an exhibition,a richness of imagination andlived experience in these stellarworks by the five finalists. 2009Sobey Art Award will begin onSeptember 5 with some of themost intriguing and challengingwork this country has to offer.Shortly after the shortlist wasannounced in early-May, thegallery staff began workingon organizing the exhibition,publishing the accompanyingcatalogue and preparing forwhat will be an exciting weekat the AGNS. The awarding ofthe $50,000 prize and the presentationof $20,000 to the fourrunners-up ($5,000 to each) willtake place on October 15 atan outdoor celebration in theAGNS’s Ondaatje Court, the siteof Origins by Nova Scotia native,and recipient of a 2009 CanadaGovernor General Award forVisual and Media Arts, JohnGreer. Sobey Art Award Week,as it has become to be known,will take place from October 12to 17, and includes communityinspiredand immensely popularNocturne, Halifax’s secondannual evening festival of artand culture. Save the date nowfor a week of celebration, musicand presentations of outstandingvisual art.Marcel Dzama, The Infidels, 2009, Color video, Courtesy the artist and David Zwirner, David Altmejd, The Settler (detail), 2005, wood, paint, Plexiglas, mirror, foam, resin,Robert Zingone,New Yorksynthetic hair, lighting system, shoes, wire, molding clay, beads, glitter, glue, 40 xAssistant Curator46.375 x 90.625 inches, Courtesy Andrea Rosen Gallery, New York, and Stuart ShaveContemporary ArtART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009Modern Art, London © David AltmejdART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 9

Lorenzen Bowl, 1967, Stoneware, 5.5 x18.5 x 19.0 cm, Gift of Barbara Nielson, Halifax, Nova Scotia, 2004Maria Morrisa Nova Scotian Garland10on view untilJanuary 17, 2010Botanical illustration is a specialisedart form demandingboth art and science. The sixtysmall watercolours in a recentlydiscovered album of botanicaldrawings by Maria Morris revealher tentative explorations of thegenre. In her later lithographs,published with text by TitusSmith, Alexander Forrester, andGeorge Lawson, she wouldrepresent the flowers life-sizedwithout the illusory effect ofcast shadows while maintainingan aesthetically pleasing presentationon the page. In theseearly watercolours the plants arereduced to a small format pageand four of them cast shadows.Perhaps she was able to accessissues of Curtis’s BotanicalMagazine for guidance or perhapsTitus Smith recommendedagainst the shadows, when headvised her about botanicalnomenclature.During his survey of the provincesinterior in 1801 and 1802,Smith had prepared a listing ofthe flowers and trees he found.Smith’s father, a Yale graduatewho had tutored him inmathematics, theology, botany,chemistry, medicine, and languages,may have broughtPhilip Miller’s The Gardener’sDictionary with him when thefamily came to Nova Scotia asSandemanian Loyalists in 1783.About 1790, John Wentworthgave them a complete set theSpecies Plantarum of Linnaeus.In the 1830s there was littleother counsel for Maria Morris inNova Scotia. Torrey’s and Eaton’srecently published studies maynot have been available. AsaGray’s Manual of the Botany ofthe Northern American Stateswould not appear until 1847.The Flora Boreali-Americanaof 1803, based on AndreMichaux’s botanical survey ofNorth America between 1785and 1796 with illustrations byPierre-Joseph Redouté, includedQuebec, but not the Maritimes,and William Jackson Hooker’stwo, very expensive, volumeswith the same title, which didinclude Nova Scotian examplescollected by Lady Dalhousie,would not appear until 1840.Cronquist, Thorne, and theAngiosperm Phylogeny Groupwere all far in the future! Sincebotanical nomenclature haschanged considerably in recenttime, Marian Munro, Curator ofBotany for the Nova Scotia Museum,has provided the modernnames for each of the flowersrepresented.Morris probably studied flowerpainting with JE Acres in Halifaxin 1826; these lessons, plus therecent publication of DorotheaDix’s The Garland of Flora, mayhave inspired Morris to approachTitus Smith about herproject to illustrate the flora ofNova Scotia. By 1840 when Morriswas publishing her first set oflithographs, Dix had discoveredthe poor conditions suffered bythe insane in Boston and, for theremainder of her life, devotedherself to the establishment ofhumane hospitals. This sharedconcern led her to work withHugh Bell of Halifax towardthe building of Mount HopeAsylum in Dartmouth, wheretending gardens was part of thetreatment. Morris’s lithographs,in turn, inspired Clotilda Jenningsto write a series of poemsabout the “Wild Flowers of NovaScotia” that were publishedin The Provincial, or HalifaxMonthly Magazine, publishedby Mary Jane Katzmann, whoalso included an article on thewell-being of the mentally-ill inone of her last issues. Jenningslater moved to Montreal whereshe continued to write. In 1866,Katzmann, now running theProvincial Bookstore, wouldpublish the third set of MariaMorris Miller’s lithographs.The 1830s were a period ofintellectual awakening in NovaScotia. The watercolours andrelated later lithographs inthis exhibition provide a pathinto that period when JosephHowe’s public letters in theNovascotian exhorted his fellowcitizens to acquaint themselveswith other areas of the province,the Mechanics’ Institute offeredlectures on a broad spectrum ofliterary, philosophical, historical,geographical, and scientificissues, and the arts and lettersthrived.Dr. Dianne O’Neill,Associate Curator, HistoricalPrints and Drawingson view untilDecember 13, 2009Maritime Modern showcasesexamples of 1950s and 1960scontemporary ceramics fromthe Art Gallery of Nova Scotia’spermanent collection. Theexhibition features work bythree famous Canadian ceramiccouples: Krystyna Sadowskaand Konrad Sadowski, Erica andKjeld Deichmann, and Ernstand Alma Lorenzen. FollowingWorld War II the Maritimes experiencedan influx of talentedcraftspeople trained at someof Europe’s top art schools.When they arrived in Canadathey brought with them a newaesthetic sensibility based onEuropean modernism with itsstreamlined shapes, symbolicdesigns, and elegant forms.Mary E. Black, who was hiredin 1943 to organize a provincialhandicrafts program forthe Nova Scotia Departmentof Industry and Publicity,recognized the importance ofthese European influencesand encouraged the newlyfounded Handicraft Centre toteach modern pottery. This isan important point, as Blackhas sometimes been malignedfor entrenching Nova Scotia’scrafts within an idealized folktradition. However, her encouragementof the innovativework of artists like KrystynaSadowska indicates that Blackwas certainly supportive ofmodernist aesthetics. In 1951Black praised Sadowska’s craftsmanshipand original designs,writing that Nova Scotiansshould study Sadowska’s “striking”work. She went on to creditSadowska with bringing to theprovince “…techniques anddesigns hitherto unused.”In 1935 the first couple toestablish themselves in theMaritimes (and it could be saidin Canada) as contemporarystudio ceramists were KjeldDeichmann who emigratedfrom Denmark, and his wifeErica. The National Film Boardfilmed their country pottery onseveral occasions and contributedto its becoming a populartourist destination in NewBrunswick. Although small, thetwo Deichmann dishes shownin this exhibition, with simplebut elegant forms, and minimaldecoration encapsulate theScandinavian modern style sopopular in Canada during the1950s and 1960s.Krystyna Sadowska and herhusband Konrad Sadowskistudied with Norah Billington atthe Central School of Arts andCrafts in London, England. In1949 they moved to Halifax toteach at the Handcraft Centreafter seeing a Polish travel bookentitled Pine-Scented Canada.Their work achieved considerableacclaim. The tablewareshown in this exhibition featuresfanciful maritime imageryand was made at the Sadowskis’Indian Harbour studio, whichthey kept as a summer retreatafter they moved to Toronto in1953.Ernst and Alma Lorenzen werepioneers in Nova Scotia studiopottery, although they openedtheir first pottery studio in 1946in New Brunswick. The Lorenzenshave a deep connectionto the Shaw Ceramic Gallery,as it was Lloyd Shaw, the wellknownowner of the brickworksin Lantz, Nova Scotia, who readabout the Lorenzens in a newspaperarticle and invited themto move near his Lantz factory,where he built them a houseand adjoining studio with aninterest-free mortgage. Ernst’sskill with wheel work, whichhe gained while studying inhis native Denmark, and Alma’swith sculpting, modelling, andsurface decoration allowedthem to create a range of functionalobjects from bowls tomushrooms used as study toolsby mycologists. The Lorenzensdeveloped their own array ofglazes using local minerals andwere dedicated to using NovaScotia clay.Each of the couples in theexhibition contributed greatlyto the craft community of theMaritimes, and helped establishthis region as a leader incontemporary ceramics.Dr. Sandra Alfoldy,Associate Curator of Fine CraftART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 11

12The dark band on the right shows the dirt and discoloured varnish still in situ. The left side shows the dirt layer removed.UnknownMargaret Morris, c.1816Oil on canvas laid on board74.5 x 59.5 cmGift of John T. Stuart, Halifax,Nova Scotia, 2003Portrait of aConserving Margaret MorrisLadyand the right hand, stiffly placedagainst her cheek, is disturbinglysmall and lacking in definition.And yet, the eye forgives thesedeficiencies once it settles onthe face where a gentle, calmexpression engages and a MonaLisa smile hints at something –is she slightly amused by thisportrait-taking?Despite its naivety, this paintingis a lovely, sensitive renderingof a woman in the full bloomof youth set against a mythicalbackdrop of great leafy trees,complete with classical ruin.Conservationof thePaintingConditionGiven the passing of nearlytwo hundred years, it was notsurprising to find a restorativeintervention had already takenplace to deal primarily with adeteriorated canvas support;coarse and loosely woven, thelinen had suffered losses, tears,and general loss-of-strength.The remedy sought was toremove the painting from itsoriginal stretcher, trim away thetacking edges, glue the canvasto a plywood backing board andrepaint the missing areas in oilpaint. The approach, aggressiveand crude by today ’s standards,is typical of early restorationsperformed by artisans trying topreserve badly damaged paintingswith the best of intentionsbut with limited skills.The poor quality of the originalcanvas also contributed tothe extreme degree of crackingin the paint layer – mostvisually disturbing in the lighterpassages. The organic nature ofcanvas fibres, made from plantmaterial, dictates their responseto changing environmentalconditions – expanding orcontracting as they take on orgive off moisture. By contrast,an aged oil paint is not flexibleand the tensions that result betweenthese two layers play outover time with the paint film theclear loser here.In addition to these inherentproblems, there were alsosurface phenomena interferingwith our appreciation ofthis portrait: accumulated dirtobscured the finer details andthe protective varnish had yellowedcasting a much warmertonality overall than intendedby the artist.TreatmentArt conservation practiceseeks to address the problemspresented by a work of art in away that returns it, as closelyas possible, to its state whenfirst created. Conservatorsand curators work togetherto discuss treatment optionsand determine an appropriatecourse of action. Modern,research-based techniques andmaterials (documented in bothwritten and photographic files)are implemented in tandemwith the principles of minimalintervention and reversibility.The right side shows the discoloured varnish still in place; the left side reveals theproper skin tones once the varnish is removed.compromised would have beendevastating and unnecessarygiven the painting now residesin an institution where the environmentalconditions remainconstant and where the paintingcan be closely monitored.The conservation effort thenconcentrated on removing thedirt and grime and dissolvingthe yellowed varnish. Duringtreatmentphotographs revealhow dramatic the transition canbe as these procedures unfold.The conservator infilled onlythose cracks that were mostdisfiguring or interfered withthe definition of the design.Inpainting these areas then followedusing watercolour paintsto match the surroundingoriginal oil paint. The remainingcracks testify to the fact thatpaintings are ‘ living’ objects;composed largely of organicmaterials, they age over timein their own characteristic way,subject to the techniques andmaterials used by the artist andto the conditions in which theyhave been maintained.This portrait now takes awell-deserved place in our permanentcollection installation.Though the conservation treatmentis completed, the mysterystill remains – who paintedMargaret Morris?Laurie Hamilton,Senior Conservatorn old hand-written whose family had come to Research reveals that in 1816, Even if we didn’t know thenote adhered to the Elizabethtown as United Empire Margaret’s brother, William, was identity of this sitter, theback of this portrait Loyalists in 1785, who would about to embark on a new life accoutrements of privilegedates it to about serve as Brockville’s first mayor, in Perth, Ontario, and it seems – the lace-edged dress, pearl1816 and reveals its subject to and whose knighthood in 1836 possible that his departure necklace and earrings, andThe decision not to removebe Margaret Morris, daughter by William IV made him the first prompted the painting of family intricate hairstyle – reflect athe plywood backing wasof Alexander Morris, who immigratedfrom Scotland to Eliza-so honoured. Margaret Morris investigation indicates that the community. However, it isa paint layer already sonative-born Canadian to be portraits. Further genealogical lady of wealth and standing inan easy one. The stress onbethtown, Upper Canada, (now Jones died in 1828 leaving only Margaret was great aunt to the also clear the artist lacked theBrockville) in 1801. Her brothers one daughter, Janet. Sadly, artist/writer, Edmund Montague draughtsmanship required towould all play prominent roles the label includes no evidence Morris, renowned today for his reproduce a fully-articulatedDetail of sitter’s right eye (16 x magnification)in the government of Upper pertaining to the artist who striking paintings of First Nations human body: the head seemsbefore treatment, showingCanada in the years to come. In painted her.peoples and for his travel diaries curiously disconnected from thethe pools of dark varnish and degree of Photograph shows gesso infills of small losses and cracks that interfered with reading1824 she married Daniel Jones,of journeys into the northwest neck, the torso sits too frontalcracking in the paint layer.the design elements. Toning these areas with watercolours followed.regions of Canada in the early for the placement of the arms,ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009twentieth century.ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 13

Jean-Pierre Gauthier14Jean-Pierre Gauthier, Chants de travail, 2006RandomCertaintyIt’s possible to live in a veryquiet world by choosing notto listen. However, if you areable to hear, then the world israrely quiet, and never, not ever,silent. That prolixity of noise,the world’s steady din, is at theheart of Jean-Pierre Gauthier’ssculptural project. So too is ourtendency to drown out thatworld. Gauthier’s aural constructionsare so compelling, sofamiliar yet so strange, becausetheir noisemaking is so insistenton our listening to the verynoises we tend to filter out inour everyday existence: soundsusually too slight, too subtle,too random or too ubiquitousto catch our attention.We are too often lulled into avirtually insensate state by thesheer volume of informationwe need to process in the runof a day, in self-defense we areequipped with sophisticatedfilters that protect us frominformation overload. Thereare several reasons for this ofcourse, not the least to stopourselves from going insane.(Imagine registering the feelingof clothes against one’s skin allthe time. As every move sends acascade of sensory informationto the brain, the amount ofstimuli would be overwhelming.)We edit the informationfrom our senses all the time,we have to, but we often take ittoo far. Habitual responses canbecome ingrained, and thusinvisible. It is easy to forget thatthe information we receive isfiltered, and that much of it canbe an outright invention: howoften do we perceive what weexpect, rather than what wehave seen? Where would magiciansbe without that basichuman frailty? Not all of us areso blinkered, some, like Gauthier,have, in the words of the popgroup XTC, “one, two, three, four,five, senses working overtime.”Gauthier is a tinkerer, aninventor with a sly sense ofthe absurd, and a meticulousattention to the minutiae ofthe everyday. His appreciationof the world is not ever passive,but rather displays an activeintelligence that encompasseseverything around him. Hissenses do indeed seem to be onoverdrive – he is always payingattention. Experiencing a workby Gauthier is to be envelopedin a cascade of sensation, withsound taking centre stage. Gauthiercarves space, sectioningit up, apportioning it and movingus through it using soundwaves as much as he does theconduits, cords, wires and theextravagant assortment of oncefamiliar objects that make uphis “instruments.” As such heis a consummate sculptor, asengaged with gravity, mass andspace as any minimalist.Jean-Pierre Gauthier is notcontent to let sleeping senseslie. His sound sculptures createsynaesthetic experiences,environments really, wherethe act of “paying attention” isconstantly replayed by his mechanicalstand-ins for our ownwandering perceptions.In a work such as Échotristesprings on rotating mirrors createa high-pitched sound thatis amplified by small pick-upmicrophones and projectedinto the space of the work. Themirrors, located low to the floor,Experiencing a workby Gauthier is to beenveloped in a cascadeof sensation, with soundtaking centre stage.spin at what seems like random,until the perceptive viewerrealizes that the movements arechoreographed to their own –the piece is tracking their movementsthrough the space and isresponding to them. The soundof the work is structured, but isconstrained by chance and ourintentions – the viewer/listenerhas the opportunity to “play”the work, to subtly change theirown experience of it. The morepeople in the room, the moreseemingly chaotic the sound ofthe work becomes.It is a fundamental principleof particle physics that the actof observation changes theobject observed. That uncertaintyprinciple is also centralto Gauthier’s sculpture, quitesimply, one is never sure whatthey are going to do next, andoften, by our very presence, weare the spark that causes somechange in the work.I call Gauthier’s work sculpture,though they equally couldbe described as installations,because I see them as part of along sculptural conversation. Forat base, these objects are aboutspace and time, gravity andmass. These sculptures occupywhat Rosalind Krauss describedas an “expanded field,” one thatincludes time as well as space,sound as well as sight.I wrote above that Gauthier’ssculptures mimic the act ofperception, they notice things,most notably us, and the sculptures,in their own technicaland mechanical manners, payattention to the world, perceiveit, and then process it in aninternally logically way. In TheRace the outcome is never predetermined.Every race – everytime the piece is turned on therace begins again – has a newwinner. Factors such as whenthe motion sensors are tripped,how often that happens, anda certain built-in penchant forrandomness that is Gauthier’smischievous trademark, ensurethat any of the five tape measuresin the running could “win”at any given time. That refusalof pre-determination adds achaotic element to Gauthier’swork, despite its overarchingsense of order. Every creativeJean-Pierre Gauthier, Chants de travail, (detail) 2006act is a setting into play acertain order, an idea about theworld that manifests itself asorganized material. Yet chaosalways lurks at the edges of anyhuman endeavour, where thereis something there is alwaysthe possibility of nothing. Thetrick is to recognize the abysswithout falling into it.The act of making anything isfundamentally one steepedin hope and of optimism. Theenduring, oft-times despairingquestion of modern times –Why is there something ratherthan nothing? – can only beanswered with things. “No ideasbut in things,” declared WilliamCarlos Williams, arguing forthe centrality of the corporealin human activity. Well, recenthistory has taught us the horrorsthat can be enacted in thename of ideas and systems.Living too much in our heads,forgetting the reality of others,leads to concentration camps.It is in the unknown terra nulliusof the mind that monstersare created.The modernist project spanssome three hundred years, fromthe rationalism of Descartes tothe killing fields of the Somme,to the numbing barbarity of theShoah. After the Holocaust thenatural response was to recoilfrom the sense of certainty andprogress that was modernism,and our dazed and confusedefforts at salvaging somethingfrom the wreckage of the certaintiesof Western culture has createdvarious post-Modernisms,various and sundry theories, andmuch too much information. It“There is a crack, a crackin everything. That’s howthe light gets in.”seems like our culture has beenending for 100 years. Perhapswe’re beginning to begin? Andwill we find the seeds of thatbeginning in what now seemschaotic and meaningless? Onehas to hope so.Everything in an installationsuch as Anima or Rut is intentional– the look is necessaryto create the sound, the soundis determined by the materials,the lines of conduit, cord andother elements are determinedfor practical as well as aestheticpurposes. These objects are inte-grated in a highly complex way– Gauthier creates worlds, internallyconsistent, following rulesand laws determined by physicsand thus perceptible, but alsoworlds that let in glimpses ofmystery and chaos, worlds thatwe can’t always control. Theseworlds can fail, can disappoint,but can also open up the possibilityof grace. These sounds areordered, despite their built-ingenerators of random effects.Randomness does not precludeorder of course. In fashioninga world, chaos is prime material.Always, even in the mostcontrolled environment, thekind that Gauthier would neverfashion, chaos may seeps in atthe seams. As Leonard Cohensang, “There is a crack, a crack ineverything. That’s how the lightgets in.”In relation to his work Gauthieris a demiurge, the initiator ofa series of events, but not anomnipotent creator. That’s amuch more honest positionto occupy, frankly, initiatingbeing both more complex andsimpler than creation. It’s morelike the condition of being human,in the end, and that goesback to an earlier insight abouthis work. These objects, intheir not-quite random play ofmotion and sound, re-presentto us the very act of payingattention – and they re-pay attentionas well. These works areimpossible to take for granted. Ifyou engage with them they will,after a fashion, observe you.And, once observed, you toowill be changed.Ray Cronin,Director and CEOJean-Pierre Gauthier:Machines at Play,circulated by the Muséed’art Contemporainopens at the Art Galleryof Nova Scotia onDecember 12, 2009 seeour website for details.www.artgalleryofnovascotia.caART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 15

Saturday October 17 th , 20096pm-midnightWorking with Docents & GuidesArt Never SleepsGalleries open late.Art in public spaces.A free event.www.nocturnehalifax.caIt is often surprising how manypeople don’t know what a docentis. Docents are the peoplewho lead guided tours througha museum, historical site or artgallery. At the Art Gallery ofNova Scotia, these volunteerdocents are hard working,passionate people who arecommitted to bringing art andpeople together.Docents at the Art Galleryof Nova Scotia fall into twogroups: the “docents” and the“guides.” Each group plays asimilar role: the volunteersinterpret art, they guide peoplethrough the Gallery, incite conversations,provide informationand represent the Gallery asambassadors to our generalpublic and special groups.Each group meets every Mondayfrom September to June. Theysign up for tours and listen toguest speakers (artists, curators,historians, Gallery staff). Theyconduct research on varioustopics and present it to eachother; they watch videos andmovies linked to AGNS programming,up-coming exhibitions orpermanent collection. Whenthe subject matter warrants it,hands-on workshops are madeavailable to docents and guidesto help them help people gainfirsthand appreciation for theparticular type of art on display.Having actually made a claycoiled pot adds a level of insightand understanding to the interpretationof Ancient Egyptianearthenware (or any kind ofpottery) that merely looking,reading and researching aboutit cannot. It is very interesting towatch how the person who tookthe workshop recreates, withhand gestures, the motions ofcoiling a pot as they talk about aclay object, or answer questions,as opposed to the person whodoesn’t have that experience.Our docents give tours to schoolgroups. The guides are committedto providing a public tour aday, two every Thursday, everyday of the year, as long as theGallery is open. Members ofthese groups are self motivated,high achieving individuals wholove the Gallery, our public,and the arts. Being part of oneof these groups is similar tobelonging to an art study groupwith a direct purpose. Manyart study groups work withreproductions, perhaps withaims of taking a trip to a certainmuseum or collection and theytry to gain as much knowledgeabout certain pieces in order tobetter appreciate them whenthey see the actual object; orit can be the joy of acquiringknowledge without the directgoal of seeing the original artin a museum or gallery. As a docent,you study the art, and then,very soon after, you not onlyexperience it, you’re chargedwith interpreting it for as manypeople as possible, with helpingthem feel comfortable with theart, getting them to expresstheir opinion about the art andengaging in conversation thatleads to a deep and thorough“reading” of an art piece. Once agroup of people reach this level,they feel genuinely interested inthe work and want to find outmore. This is when the docent’sresearch pays off, when thepublic asks and actually wantsto “know.” This is the goldenmoment when communicationoccurs between the viewer andthe object viewed, and this is“...hard working,passionate peoplewho are committedto bringing art andpeople together.”when everyone understandsthat art is larger than personalopinion, background or pointof view.It is an honour and a privilege,professionally and personally tohave been able to work closelywith AGNS docents and guidesfor the past five years, and I lookforward to continuing my workwith them. Every time there is anew exhibition, or the rehangingof a gallery, or a sculpture“pops up” somewhere, we setout to explore and discoverourselves, other people and theoriginal art itself.Enrique FerreolEducation Assistant18ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 19

Artist-in-Residence20TRAMPOLINE BRANDINGContact: Larry Bootland 902 405 4809Project: 7590WANS Fall Festival Ad RedClient: WInes of Nova ScotiaHARRIS HOUSEFINE ARTPublication: AGNS JournalSize: 7.6” x 4.85”Insertion Date: August, 2009Photos/Logos: Hi resSigned Graphic Artfrom the 19th & 20th CenturiesNOTE: All trapping is the responsibility of prepresswinesns.caSeptember 7 – OctOber 30celebrate our very own winesThis is world-class wine worth celebrating. So don’t miss your chanceto visit the vineyards, enjoy great food, and of course, taste the wines.Alongside the paintings, sculpture,and works on paper onview in a museum, artists are oftenworking right in the galleryspaces and studios. The AGNSoffers artists the opportunity touse its collection as inspirationor launching point for a projector specific artwork. Sometimesworking in conjunction withan exhibition, and other timesin concert with a single work ofart, these artists use the galleryas their laboratory, breathingnew life into the work on display.This kind of exchange withthe collection and the Gallery’smembers is vital to the life ofan art institution. Over the pastyear, the Gallery has hostedthree artists as part of thisprogram which provides artistswith a three-month residencyconnecting them to works onview in the Gallery’s exhibitionsor permanent collection.The Louis and Marla ReznickArtist in Residence Program isgenerously supported by theToronto-based Reznick family.The studio space was endowedby Jack and Diane Smith.robotics, audio, music, and someinteractive components. Hisinstallations bring the viewerin to the world of play, in whichGraeme inhabits while creatinghis stop-motion animations.From 2004 - 2007 he createda large body of work entitledWoodrow. This 10 piece installationencompasses all aspectsof his practice. All of his workis based on personal memoriesand life experience with amix of fantasy and surrealism.Currently Graeme is workingtowards another 3 - 4 yearproject focusing on finding andrenewing his ties with a longlost friend from his childhood.Much like Woodrow Graeme willbe traveling and plans to taketemporary residence in Japan tocreate connections between hismemories and reality.October 2008 -January 2009In David Harper’s work, hispassion for the wild unites synergisticallywith a keen interestin technique. His sculptures,even those small in scale, haveweight and presence. His visionfor The Last to Win was huge,both lofty and ambitious: afull-scale horse, crafted in theAGNS Education Centre Artistin-ResidenceStudio. AlthoughHarper’s desire to create a horseof this stature pre-dates theAGNS residency, the project appropriatelycoincided with therun of a Joe Fafard retrospectiveand gave Harper license fora larger scale. His exquisite,life-sized sculpture of a horse,The Last to Win, combined taxidermyand embroidery to greateffect. The Last to Win was seenin Calgary at Stride Gallery.Installation view of Ob-so-less-cents by Eleanor King, Sometimes Alwaysat the Art Gallery of Nova Scotia.sculpture. Her work fuses foundmaterials in a playful way tocritique social behaviours, whileinvestigating consumer andtourist cultures. King’s work hasbeen showcased across Canada,as well as internationally. Moreover,she has participated in residencyprograms both in Canadaand the US. Eleanor teaches inthe Media Arts department atNSCAD University and holdsthe position of Exhibitions Coordinatorat Anna LeonowensGallery.also included carefully arrangedobsolete media, collections ofold equipment, and audio-videoelements. The artist arrangedthese components within thespace to create an atmosphereof ordered clutter, with the hopeof raising questions about themedia objects we chose to consumeand discard. King viewsthe recent trend toward environmentalismand conservationas a promising sign of an end tosociety’s wasteful mentality. Thisinstallation, although dealingwith somewhat grave environmentalconcerns, still managedto be playful, beautiful, and adelight to Gallery visitors.ProCess seParationsApril - June 2008C M Y KGraeme Patterson, whose workIncluding Works by:Hockey Organ was on view inArena, was the revived Program’sfirst Artist-in-Residence.Kathe KollwitzJack LevineLuigi KasimirDuring that period he createdKasamatsu Shiroan ambitious sculpture andWilliam Auerbach-Levyaccompanying animation, TenLeopoldo MendezPoint Game based on DarrylLeonard BaskinSittler’s famous 1976 game.Joseph BudkoThis work joined the ArenaAs one of the featured artistsJohnny Friedlaendertour and was premiered at thein the current exhibition SometimesAlways, King’s presence atDavid Alfaro SiqueirosAGNS Western Branch’s installationof Arena and will be shownAnthony Thiemethe AGNS as Artist-in-ResidencePaul Herrmannwith that same exhibition at theover the summer was an appropriatefit. Her new installation, come artists-in-residence LisaAGNS will be pleased to wel-Terry HaassMuseum of Contemporary CanadianArt in Toronto. GraemeAnders ZornOb-soless-cents, was created specificallyfor Sometimes Always. Fall/Winter 2009/10. Look forLipton and Cathy Busby in thePatterson’s practice stems fromKathe Kollwitz, German 1887-1945a self-developed approach toVernis Mou & Etching, 1910In this piece, King fashioned a more about these artists’ planscreating stop-motion animation. June - August 2009wondrous junk emporium from for their time at AGNS in theThis “do-it-yourself” method Eleanor King is an interdisciplinaryartist who workssurplus objects creating, among next issue of your Journal. To(902) 532-7877is consistent in all facets of his238 St. Anthony St., Annapolis Royalother sensations, organic sculpturesin the form of stacked please checkout the website atapply to the residency program,production. Since graduating with site-specific installationsNova Scotia, PO Box 326 B0S 1A0 www.harrishouseart.comfrom NSCAD in 2002 his projects incorporating elements ofdiscarded items. The installation www.artgalleryofnovascotia.cacan be described as sculptural audio, video, photography, andinstallations consisting of video,ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 21

New AcquisitionsAcquisitions made by the Art Gallery of Nova Scotia are almost entirely dependent on donors,both in the province and across the country. The most recent donations and purchases in thisnew fiscal year cover a range of work, from local ceramicists – both historic and contemporary –to Inuit prints and carvings. It is always exciting to see what people offer to the AGNS. Ourcuratorial staff make the final recommendations about what to accept into the permanentcollections. Below are some of the most recent acquisitions approved by the AcquisitionsCommittee.Mona Louise Campbell was President of Dover Industries LTD and Dover Mills Halifax and Vice Chairman of the Board for Dalhousie UniversitySchool of Business Administration. She was also a founder of the Royal Ontario Museum. Among her numerous charitable endeavours,Mrs. Campbell believed that the Lorenzen mushrooms held in her collection should be returned to Nova Scotia.Bequest of Mona Louise CampbellA collection of 18 ceramic mushrooms by Ernst and Alma Lorenzen.The Lorenzens were not native Nova Scotians (they were from Denmarkand New Brunswick respectively) but they worked full time asartists and potters in their studio in Lantz, Nova Scotia. Intrigued bythe many and diverse mushrooms found in Nova Scotia (an idealclimate for mushrooms and home to many rare species), the Lorenzensbegan to created models of mushrooms they collected. Ernstdeveloped his own glazes using mineral deposits they collected fromaround the province to get the realistic colours for the mushrooms.TOP: Dusan Kadlec, Reflections, c 1980, Oil on Masonite, 51.0 x 76.2 cm, Gift of theEstate of Barbara Newman, Halifax, Nova Scotia, 2009RIGHT: Ioyan Mani, Star Blanket, 1982, Lithograph on rag paper, 41/100,75.7 x 51.3 cm, Gift of Barbara Newman, Halifax, Nova Scotia, 2002Bequest of Barbara NewmanBarbara Newman was a strong supporter of the gallery. Over the lastfifteen years she donated 32 works that are some of the treasures ofour permanent collection. From the wonderful drawings and printsby Allen Angeconeb to numerous Inuit prints and sculptures, fromclassic A. J. Casson and Charles Fraser Comfort paintings, to worksby local artists Suezan Aikins and Tom Forrestall, Ms Newman wasa strong supporter of the Gallery with an excellent appreciation forthe art she collected. Her final gift from her Estate to the AGNS is apainting by Dusan Kadlec that depicts Lower Water St. at the BreweryMarket on a rainy, autumnal day.Alma and Ernst Lorenzen, Clitocybe cyathiformis, 1960s, Glazed clay, 10.9 x 8.0 x 6.0 cm,Bequest of the Estate of Mona Louise, Campbell, Toronto, Ontario, 2008Alma and Ernst Lorenzen, Cortinarius violaceous, 1960s, Glazed clay, 6.5 x 8.5 x 5.5 cm,Bequest of the Estate of Mona Louise, Campbell, Toronto, Ontario, 200822ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 23

24AGNS welcomesNations in a CircleNations in a Circle is an organizationformed, “to presentand promote the art, cultureand traditions of First NationsPeoples.” Their eight memberboard is made up of bothAboriginal and non-aboriginalartists, and you may be familiarwith their annual Fall showcasewhich presents some of NorthAmerica’s finest established andemerging artists in Halifax.Part of NIAC’s mission is “toensure growth, respect andappreciation for the creativeexpression of First Nations andAboriginal peoples of AtlanticCanada through our arts, cultureand traditions,” and as such theyhave long had a relationshipwith the Programming andEducation departments of theGallery. Recently, our associationhas grown even closer withtwo events.Last Fall, the AGNS was approachedby Cathy Martin andMarlene Joudry, who werelooking for office space thattheir organization could use asa headquarters in Halifax. Afterour meeting, Gallery staff did aclose examination of our officesituation (tight at the best oftimes!) and decided we had anoffice that could be used on ashared basis. This was acceptableto NIAC and this past May,during Aboriginal Awarenessweek, they officially moved intotheir office within the AGNS.NIAC members will be usingthis office space throughoutthe year to conduct meetingsand have a home base herein Halifax, in conjunction withanother office in Truro. It givesthem a great location for theirmeetings, and provides theAGNS with easy access to somewonderful and knowledgeableartists who offer unique perspectivesand insights into theAGNS First Nations collectionsand exhibitions. We hope thiswill be just the first of many collaborationsbetween these twoorganizations.The second event was the briefthree-week exhibition in May,Keepers of the Eastern Door, thatthe AGNS hosted for its NovaScotia debut prior to its presentationto an internationalaudience at the2010 Winter Olympicsin Vancouver. TheAtlantic Aboriginalwork in this exhibitionwas selected incooperation with theVancouver OlympicsCommittee (VANOC)and the Mi’kmaqAssociation for CulturalStudies (MACS), andshowcased the works often Atlantic Aboriginalartists.The artists includedNed Bear (Maliseet, St. Mary’sFirst Nation, NB); Shirley Bear(Maliseet, Tobique First Nation,NB); Dozay Christmas (Maliseet,Membertou, NS – originally fromTobique First Nation, NB); PeterClaire (Mi’kmaq, Elsitpotog FirstNation, NB); Charles Doucette(Mi’kmaq, Potlotek First Nation,NB); Jerry Evans (Mi’kmaq,St. John’s, NL); Gerry Gloade(Mi’kmaq, Millbrook First Nation,NS); Todd Labrador (Mi’kmaq,Acadia First Nation, NS); MaryLouise Martin (Mi’kmaq, Mill-Alan Syliboy, Tuft’s Cove Survivor, 1999, Acrylic, watercolour pencil, ink, and photo transfer on illustration board, 76.0 x 101.5cmPurchased with funds provided by the Canada Council for the Arts Acquisition Assistance Program and the AGNS Gallery Shop, 1999Edward (Ned) Bear, Meskocipayiwak, 2002, Yellowbirch, horse hair, bear fur, 43.0 x 23.5 x 11.0 cmPurchased with financial support of the CanadaCouncil for the Arts and funds provided by the ArtSales and Rental Society, Halifax, Nova Scotia, 2005brook First Nation, NS); and AlanSyliboy (Mi’kmaq, Millbrook FirstNation, NS).From Ned Bear’s striking maskswith exaggerated features accentuatedby the grain of thewood, exuding power and mystery,to Dozay Christmas’ homageto three important leaders:Rita Joe, Oliver Polches, andPeter Wilmot, and the importanceof Wampum in keepingtheir history alive and strong,to the turtle drum by ToddLabrador, the works embracedthe spirit of their culture andcommunities and presented thediverse talents of these artistsworking through traditional andcontemporary media and techniques.Although the exhibitionperiod was brief due to theneed to have the works shippedto Vancouver, everyone felt itwas vital that the first exhibitionof these selected works be inAtlantic Canada. The Art Galleryof Nova Scotia was proud to bethe first venue for this show, andwe look forward to many futurecollaborations with the artistsand these associations.Shannon Parker,Curator of CollectionsndaatjeCollectionCollections are built for a myriadof reasons. But at the core isalways one thing: passion andcommitment. The Ondaatjecollection of Canadian art isboth a reflection of the tastesof one man and of the mandateof one institution. Made up ofworks donated from a personalcollection and of works whoseacquisition was supported inwhole or in part by Sir ChristopherOndaatje, the collectioncreates a valuable portrait ofthe donor and his relationshipto this institution.The caliber of the OndaatjeCollection is readily apparent.Even among the other exquisitepieces of the Collection, TomForrestall’s impeccable eggtempera on masonite shapedpainting,Island in the Ice, standsout as one of the highlights. Anative of Dartmouth, and one ofthe leading figures associatedwith the visual arts of the Atlanticregion, Forrestall’s subjectmatter reflects his unwaveringbelief in the values and qualitiesof life in the Atlantic Provinces.His work has been exhibited inprominent galleries continuallysince the mid-sixties and is representedin every major publiccollection in this region and beyond.Forrestall was introducedto egg tempera painting by theworld-renowned Alex Colville,who together with ChristopherPratt and Mary Pratt, form acoterie of “magic realist” Eastcoastpainters, making thispiece a valuable addition tothe Art Gallery of Nova Scotia’sPermanent Collection.In conjunction with the stunningForrestall work, the OndaatjeCollection features two brilliantpaintings by the influential AlexColville, Three Girls on a Wharfand, possibly one of his greatestworks, Ocean Limited. Colville’sstyle is easily recognizable,instantly grabbing the viewer’sattention. Employing his meticuloustechnique based onorder, harmony, and naturalism,Colville’s striking works depictan altered reality in which theknown and familiar collide withthe unknown and mysterious,while appearing to be in perfectunison. A Canadian war artistduring the Second World War,Colville’s experiences in Europeduring that horrific time arepresent in his artwork in theform of absence. His paintingsexhibit a disconnect betweenwhat is seen and what is sensed,a medium through which thisextraordinary artist explores thenotion of what it is to be humanand what it means to live in thischaotic world.The outstanding Ondaatje collectionalso includes works byinstrumental Canadian artistsfrom outside the Atlantic region.For example, Composition andFigure Légendaire, two paintingsby the radical Québequois abstractartist, Paul-Émile Borduas,form part of the collection.When Borduas showed 45 ofhis gouaches at the ErmitageThéâtre in Montréal during thespring of 1942, he gave rise tothe birth of Les Automatistes.This movement, inspired by abstractrealism, initially consistedof Borduas and a few followersfrom among his students at theÉcole du Meuble. The groupof young artists engaged in afree exchange of ideas, seekingto paint with pure psychicautomatism as did the streamof-consciousnesswritings ofAndré Breton. The influence ofBorduas and Les Automatisteswas widespread, working itsway into other forms of artisticexpression such as drama, poetry,and dance.Another of Quebec’s foremostpainters to emerge during thetwentieth century is Jean PaulLemieux. The AGNS is fortunateenough to have three of the artist’sspectacular works as part ofits permanent collection thanksto Sir Christopher Ondaatje.Lemieux’s paintings are oftensombre; possessing a distinctlynorthern quality in which starkhorizon lines, expansive snowcovered fields, and a sense ofquiet solitude permeates theworks. These characteristicsare perfectly embodied in Lemieux’spainting Le Découvreur,another of the Ondaatje Collectionhighlights.Folk sculpture in Nova Scotiagrew out of utilitarian needsand the individual situations ofthe early settlers. By 1850, asNova Scotian society began totake shape, prosperity broughtwith it a cultural resurgence anda Nova Scotian spirit. A fine exampleof folk art from this earlyperiod is James Hertle’s BlackFigure in a Dancing Position, c.1865. During the mid-19 th Century,Hertle worked as a ship’scarver at Williams’ Shipyard inDartmouth. He is known to haveproduced several ship’s figureheadsand other carvings whileworking there. This sculpture isone of only three known knownlife-size figures by Hertle, and itis the only one of these carvingsincluded in a Halifax exhibition.This figure’s black, yellow andred polychrome paint is original,and the position of the handsand feet indicate that the figureis beginning to perform a dance.One of the finest nineteenthcenturycarvings anywhere, itforms an intricate part of theOndaatje Collection, as it truly isan Atlantic treasure.Many other Canadian nationalartists are featured in TheOndaatje Collection includingWilliam Kurelek, Louise Scott,A. Y. Jackson and others. As SirChristopher says, “These werethe paintings that we collectedand loved the most while wewere growing up in Canadaduring the 1960s, 1970s and1980s. They are a mosaic of thecountry’s growth, the artists’impressions at that time, andour own emotional lives. This isthe first time all these works ofart have been displayed in thesame room – where they oughtto be as part of The Art Gallery ofNova Scotia and part of our ownpermanent National heritage.”Over the past fifteen years JohnGreer’s sculpture Origins, hascome to be a familiar landmarkin downtown Halifax. This workmakes reference to several pastcultures and myths, to architecturalhistory and to the humanhand. Underlying these is a referenceto the basic human needfor order. Permanently installedin the Ondaatje courtyard,adjacent the main entrance ofthe AGNS, this attractive andengaging piece has grown intoan emblem for the Art Galleryof Nova Scotia and stands as asymbol for the ongoing partnershipbetween Sir ChristopherOndaatje and the Gallery. Theworks mentioned above formonly a small sampling of thepieces that make up this wonderfulbody of work, the fruit ofa passion for Canadian art.ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 25theA view of the Christopher Ondaatje Gallery at the Art Gallery of Nova Scotia

Each year the director of theArt Gallery of Nova Scotia approachesArt Sales & Rental witha list of artworks he is interestedin acquiring for the permanentcollection. Since 1976 oursociety has donated over a milliondollars to help enrich thepermanent collection of theAGNS, as such this annual eventremains an exciting and rewardingtime for us.This past year, an oil painting byMargaret Campbell MacPhersonentitled The Shrimpers capturedour interest. The decision to helprepatriate this work of art wasan easy one. Margaret CampbellMacPherson was a Newfoundlandnative, and a vanguardCanadian Impressionist, whoseartwork was exhibited in moreParis Salons than any other Canadianartist between 1894 and1926. She was awarded the goldmedal from the Exposition Nationalein both 1903 and 1904,and was the only British NorthAmerican woman to be awardeda medal (bronze) for paintingsin the Canadian Pavillion at theExposition Universelle in 1900.Although her achievementsas a painter were recognizedduring her lifetime, MargaretCampbell MacPherson’s careerhad been largely forgotten orignored until 2006 when theAGNS mounted Two Artists TimeForgot, a travelling exhibition ofwork by MacPherson and herslightly older contemporary,Francis Jones (Bannerman), ofwhich The Shrimpers was a part.We are very pleased to havebeen a part in bring this wonderfuladdition to the permanentcollection of the Art Gallery ofNova Scotia.Andrea SmithExecutive DirectorArt Sales & Rental GalleryUpcoming Events& Feature ArtistsSeptemberMark BrennanOctoberNocturne and Beverly HubleyNovemberThe Annual Group ShowHOLD YOUR NEXT MEETINGOR EVENT ATTHE ART GALLERY OF NOVA SCOTIAWithin walking distance of the historic Halifaxwaterfront The Art Gallery of Nova Scotia isthe perfect place to hold a meeting, trainingsession, presentation, after-hour reception orsit down dinner.For more information contactSue Melvin at melvinsa@gov.ns.caPhone: 902.424.8935 | Fax: 902.424.7359Margaret Campbell Macpherson, The Shrimpers, c 1897, Oil on jute, 65.0 x 49.5 cm,Purchased with the assistance of a Movable Cultural Property grant accorded by theDepartment of Canadian Heritage under the terms of the Cultural Property Exportand Import Act and with funds provided the Art Sales and Rental Society, Halifax,Nova Scotia, 2009Anon, Avro Arrow wind tunnel model, undated, Metal, wood, electrical components, 91.4 x 61 x 40.6 cmflightdreamsClaude Luneau, Angel in the Sky, 2007,Mixed media on paper, 1 of 10 works,7.1 x 6.4 cmOn view untilOctober 4, 2009After a successful run in Halifax,Flight Dreams is landing atthe Art Gallery of Nova Scotia,Western Branch in Yarmouth.This exhibition coincides withthe 100th anniversary of thefirst flight in Canada, as wellas the 50th anniversary of thecancellation of the Avro Arrow.For many, the sky symbolizesunparalleled freedom. For children,flight is an easy parallel formagic, an idea that is reflectedin a number of the works in theshow. With Flight Dreams, theAGNS pays tribute to these outstandingaeronautical achievements,highlighting the creativeinterplay of imagination andinnovation.Flight Dreams was originallyinspired by the story of KenBarnes, an outstanding Canadianwho combined his interestin flight with his drawingskills, eventually working as anaeronautical designer on thenotorious Avro Arrow. The exhibitionis comprised of worksby a roster of international artistsreflecting on the notion offlight. Working in video, painting,drawing, photography,and mixed-media installation,these artists explore the humandesire to fly using the languageof contemporary art.Frank Shebageget’s Beavers,a multi-layered installation of1692 hand-made models of theiconic Canadian float plane, issuspended in flying formationcreating gentle movementand a delicate, lacy pattern oflight and shadow. Magic andscience meet in David Hlynsky’sphotograph, Temptation to Fly,an innocent yet ominous imageof a small child contemplativelyholding a finely crafted plane inher delicate hand, her attentiondrawn to a proffered bird.This past winter visitors at AGNSHalifax shared their experiencesof flight and participated innumerous activities offered atthe Gallery. This summer and fallvisitors to our Western Branchare invited to add to this collectionof stories as they view theworks and take part in the rangeof activities designed to animatethe exhibition. In September, tocoincide with the annual NovaScotia International Air Show Airhosted this year by Yarmouth,there is a special celebrationOn view atAGNS Yarmouthfor all ages, including hands-onstudio workshops and guidedtours of Flight Dreams. To viewa full list of activities and eventsrelated to Flight Dreams, pleasesee our Calendar of Events onthe AGNS website. A full-colourcatalogue is available for theexhibition.Dale Sheppard,Curator of Education andPublic ProgramsDavid Hlynsky, Temptation to Fly, 1995(printed in 2005), Giclée print on paper,2/7, 74 x 59 cm26ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 27

Where Fishes ComeFirst & FreshestAGNS Yarmouth• Scallop & Chorizo Chile Pesto Pasta• Blackened Salmon with Mint Yogurt Salsa• Potato Crusted Haddock with Fresh Herb ButterAGNS HOURSTHE GALLERY IS OPENDaily 10:00am - 5:00pmand Thursdays until 9:00pmPrince Street at Bedford Row, Halifax | 421-6161 | www.mckelvies.caADMISSIONAdults $10.00Seniors (60+) $8.00Students (with ID) $5.00Youth (6-17yrs) $3.00Children (5 & under) FreeFamily Rate $20.00(2 adults & 3 youths)MembersFreeFor more information902-424-75421723 Hollis StreetHalifax, Nova ScotiaB3J 3C8John O’Brien, HMS GALATEA, Steamship , in Halifax Harbour, (detail) 1888, Oil oncanvas, 44.0 x 71.1 cm, Gift of Alice Egan Hagen, Halifax, Nova Scotia, 1955On view until October 4, 2009traits document vessels madein Yarmouth and other communitiesthroughout the SouthShore, the exhibition reflectsupon the significant role thatthis region played in the earlydevelopment of North Atlantictrade and commerce.Reflections on the Sea: Tall ShipPortraits and Models was madepossible with the generous supportof the Yarmouth CountyMuseum and Archives throughthe loan of works from theirpermanent collection.David Diviney,Curator of Programs28FALL IN LOVEALL OVER AGAIN WITHA DELTA FALL GETAWAYWhen you stay at Delta Barrington or Delta Halifaxyou’ll get away from it all right in the middle of everything.Our adjacent properties in downtown Halifax are justminutes to shopping, tourist attractions, theatre andnightlife. When it's time to relax, our comfortablerooms and popular restaurants serving the best ofMaritime cuisine will be a welcome retreat.Check out our Fall packages/offers atwww.deltahotels.com/specialsYour room is readywww.deltabarrington.com www.deltahalifax.comFor reservations and information call 1-800-268-1133 (toll free)Into the WildOctober 9, 2009 to January 31, 2010The Greek philosopher Aristotleattributed the origin of art to ouraffinity for imitation. Within this,he suggests that art imitatesand even perfects nature in hisassertion that “art completeswhat nature cannot bring tofinish.” He arrived at this claimby making some key observationsin differentiating betweennature and art. In the naturalworld, for instance, things occuron the basis of an internalprinciple of motion and change.Here, the growth and developmentof plant and animal lifeis hard-wired in the instinctualresponses and genetic codes ofReflections on the Sea: Tall ShipPortraits and Models offers aglimpse into the province’s historicties to the ocean throughthe eyes of artists practicingduring the late 19th and early20th centuries. Including scalesculptural replicas and paintingsby recognized ship portraitartists, such as John O’Brien andJohn Loos, as well as examplesfrom the Chinese School andby lesser-known artisans of theperiod, the selection of workfocuses on the representationof tall ships which were builtor registered in Nova Scotia.As many of the models and poritsspecies. Artistic production,on the other hand, requires anexternal driving force, one that’sgrounded in reason as well asintent in its direction and aim.Into the Wild draws upon theArt Gallery of Nova Scotia’s permanentcollection in bringingtogether a selection of worksthat delve into this conversation.Through varying forms ofproduction, the artists includedin the exhibition reimagine thenatural world in giving us, inAristotle’s words, “knowledge ofnature’s unrealized ends.”David Diviney,Curator of ProgramsDavid Askevlod, Harbour Ghosts, (detail), Halifax, 1999, Ink jet print on coated paper,Three panels, each panel 122.0 x151.8 cm, Purchased with funds provided by theCanada Council for the Arts, Acquisition Assistance Program and the AGNS GalleryART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 Shop, 1999ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 29

9868Version 062008.02.07APPROVAL SIGNATURE DATEAccount SupervisorAccount ManagerAccount CoordinatorAPPROVAL StudioSIGNATURE DATETrafficProductionCopywriterArt DirectorVersion 062008.02.07APPROVAL SIGNATURE DATEAccount SupervisorAccount ManagerAccount CoordinatorStudioAGNS Education Now fully FSC Certified in Atlantic Canada Account Supervisorwww.transcontinental-printing.comAccount Manager Account Coordinator email: atlantic.sales@transcontinental.caStudio Phone: 902 457 7468 DATE APPROVAL SIGNATURE DATETC Ad.indd 1100KVersion 062008.02.07Now fully FSC Certified in Atlantic Canada100C/66M/2KBettering Our Worldttering Our Worldorldwww.transcontinental-printing.comemail: atlantic.sales@transcontinental.caPhone: 902 457 7468Transcontinental Printingproud supporters ofArt Gallery of Nova Scotia · Daily lectures on the cruise and live music performances · All transfers and taxesNow fully FSC Certified in Atlantic CanadaLimited space available, book now!www.transcontinental-printing.comemail: atlantic.sales@transcontinental.caPhone: 902 457 746811C/1M/64K90M/86Y9/25/08 1:33:20 PMNow fully FSC Certified in Atlantic Canadawww.transcontinental-printing.comJoin AGNS Tour Committee Membersand CAA Travel on an escortedemail: atlantic.sales@transcontinental.caPhone: 902 457 7468Tulip Time Cruise(Volendam, Edam, Arnhem, Antwerp, Ghent, Willemstad,Dordrecht, Utrecht, Keukenhof, Roundtrip from Amsterdam)April 26 – May 7, 2010From $3,725* USD per personHighlights:Rijksmuseum, Van Gogh Museum, Kroller-Mueller Museum, Den Hague,Maurishuis, Nijmegan Liberation Museum, Church of our Lady, Castleof the Counts, Kinderdjik, Delta Works, the Sculptures at KeukenhofGardens and much, much more…..· 7 night cruise and 4 nights in Amsterdam· 11 breakfasts, 6 lunches, 7 gourmet dinners(with unlimited red and white wine)* Price is per person based on double occupancy, category E.Call for complete details.Information session with CAA Travelrepresentatives and AMA Waterways.September 10, 2009, 6:30pmSeminar room of Art Gallery of Nova ScotiaRSVP today9/25/08 1:33:20 PMTranscontinentalSponsorship AdTSAFE-0108In-store • www.caatravel.ca • 902-443-5530Summer School of the Arts, 2009ArtReach, now in its fourth year,is one of a number of uniqueand successful Art Gallery ofNova Scotia education initiativesthat links the AGNS withthe Nova Scotia Departmentof Education, its schools, andcommunities across the province.The program combinestraveling exhibitions with toursand workshops for teachersand students. Those who maynot otherwise have access tooriginal art have opportunitiesto examine these works andengage in related hands-onworkshops. Exhibition venuesmay house the exhibitions for upto six weeks for follow-up study.Other features of the ArtReachprogram include the developmentof online resources andcurriculum links between theAGNS permanent collectionand school programs, as wellas a variety of arts sessions thatencourage teachers to createvibrant learning experiences intheir classrooms.This past year a spectacularfeather project was developedat J.L. Ilsley High School aspart of the Art Reach programto highlight the AGNS’s FlightDreams exhibition. With artistMiro Davis Science studentsresearched and created uniqueflying objects, each suspendedon a huge silver feather. Thework drew rave reviews fromAGNS visitors who viewed it inthe AGNS Corridor Gallery. TheFeather Project will be a permanentinstallation at the Departmentof Education in fall 2009.It serves as an outstanding visualreminder of the innovation,imagination and knowledgegenerated by students whenlearning through the arts.There are countless opportunitiesfor the AGNS to work withschools and communities toanimate special exhibitionsand the permanent collection.A special focus this past yearwhich will continue forward, isthe remarkable AGNS Folk Artcollection.A very special celebration washeld at AGNS this past April tohonour Shauntay Grant andSusan Tooke’s book “Up Home,“recent winner of best AtlanticPublished Book and the LillianShepherd Memorial Award forExcellence in illustration. Copiesof “Up Home” have beendistributed to schools acrossthe province courtesy of the Departmentof Education’s EnglishProgram Services. During thisrousing, well attended, and profoundlytouching ceremony, thestudents from Nelson WhynderElementary presented poetryand art that celebrated theircommunity created duringArtReach workshops at theirschool. Susan Tooke’s originalpaintings for the book were onexhibit in the Education Galleryat AGNS and are on display atthe Black Cultural Centre inDartmouth in the summer andfall 2009. The Up Home exhibitionwill travel to various venuesduring the 2009-2010 schoolyear and students will be invitedto view the works and celebratetheir own communities throughpoetry and art.ArtReach with Enrique FerreolArtReach, in collaborationwith a number of other GalleryEducation initiatives, will offeroutreach sessions in 2009-10 inYarmouth, Cape Breton, Truroand the South Shore and AnnapolisValley School Boards.We look forward to planninga number of workshops, bothon and off-site with Nations Ina Circle, an arts organizationrepresenting First Nations andAboriginal peoples of AtlanticCanada, who now have an officeat AGNS.The AGNS Education programswith schools and communitiesfor 2009-2010 promises to be aproductive and creative year!Dale Sheppard,Curator of Education andPublic Programs11C/1M/64K90M/86YTranscontinentalSponsorship AdTSAFE-01089/25/08 1:33:20 PMTranscontinentalSponsorship AdTSAFE-0108ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 31

AGNewSAGNS remembersAnn MacDonaldThe Art Gallery of Nova Scotia issaddened by the recent loss ofAnn MacDonald. Ann workedwith the AGNS security detailin a part time capacity for morethan 15 years. Her dedication tothe AGNS and her spirit will bemissed.Donald Sobey appointedHonorary GovernorThe Art Gallery of Nova Scotiais pleased to announce DonaldSobey’s appointment as anHonourary Governor of the Gallery.On June 25th, the Boardof Governor’s of the AGNSunanimously recommendedMr. Sobey’s appointment tothis honourary governorship,and, the recommendation waspromptly accepted.Mr. Sobey’s leadership in Canadianart is well documented.His many commitments to theAGNS, other arts’ institutionsand the Sobey collection atCrombie House demonstrate hisdedication to the preservationand promotion of Canadian Art.Spear-heading the Sobey ArtAward, Mr. Sobey helped introducea new concept in Canadianphilanthropy inaugurating thelargest art award for a youngCanadian artist. The SobeyArt Award began as a biennialaward to be given to an artistunder 40 whom has had a showin a public or commercial artgallery in the past 18 months. In2007, the Sobey Art Foundationenhanced this commitment bymaking the biennial event anannual award. The winner of theaward is decided by a panel ofcuratorial advisors, one froma major Gallery in each of fiveregions in Canada: the Atlantic,Quebec, Ontario, Prairies andWestern Canada, West Coast.The winner receives a prize of$50,000, with the remaining 4finalists receiving $5,000 each.Mr. Sobey notes, “While thisaward shines a spotlight on creativeminds across this country, Ihope it will also stimulate interest,discussion and debate regardingCanadian contemporaryart. Since the inaugural awardin 2002, enthusiasm about theaward has grown and we wantto build on that momentum bymaking Canadian contemporaryart more accessible.” As thehost and organizing institution,the Sobey Art Award also helpssolidify the Art Gallery of NovaScotia’s commitment to theexhibition of contemporary art.Donald Sobey, as Chair of theSobey Art Foundation, is adedicated supporter and collectorof Canadian visual art.The Sobey Art Foundation caresfor the fine collection of 19thand 20th century Canadian artat Crombie House, the formerhome of Frank and Irene Sobeyin Pictou County, Nova Scotia.The collection, which is opento the public each Wednesdayduring July and August or by appointmentthroughout the year,contains an impressive range ofworks from many of Canada’sleading painters, including CorneliusKreighoff, Tom Thomson,and J.E.H. McDonald. CrombieHouse illustrates Donald Sobey’scommitment to making greatCanadian art accessible to allincluding rural Canadian communitiesand demonstrates hiscommitment to enhancing ournational identity through thevisual arts.The Art Gallery of Nova Scotiais governed by a 21-personBoard of Governors who areappointed by the Governorin Council. Members comefrom throughout the provinceand represent the business,volunteer and artistic communities.The Cabinet appointsHonourary Governors to the ArtGallery of Nova Scotia for life.The appointments are made inrecognition of their outstandingcontributions to the Galleryand the Arts. It is his vision thatthe AGNS celebrates with thenaming of Donald Sobey as anHonourary Governor of the ArtGallery of Nova Scotia.AGNS welcomesCFO, Gina ThompsonThe Art Gallery of Nova Scotia ispleased to announce that GinaThompson has been named theChief Financial Officer for theArt Gallery of Nova Scotia. Ms.Thompson began her duties atthe Art Gallery of Nova Scotiaon March 30, 2009.Prior to working at the AGNS,Ms. Thompson was Director ofFinance at Cox and Palmer. Ginahas an extensive background inpublishing, having relocated toNova Scotia from Owen SoundOntario in 1999 to be Controllerat the Halifax Daily News. Beforemoving to Nova Scotia, Gina wasthe Manager of Finance at TheSun Times for several years. Shealso held Financial managementpositions at Westinghouse Electricand Caterpillar of Canada.Gina has her C.M.A. designationand holds a Bachelor of Artsfrom the University of Waterloo.AGNS announces newDirector of Development,Bernard DoucetThe Art Gallery of Nova Scotiais pleased to announce thatBernard Doucet has been appointedthe Gallery’s new Directorof Development. Mr. Doucetbegan his duties on March 9th.Mr. Doucet brings a diversebackground from both the privateand public sectors includingthe Parliament of Canada aswell as the retail and corporateinternational sectors of the ScotiabankGroup. Most recentlyMr. Doucet was AccountDirector at Arts & Communications,one of Canada’s leadingboutique cultural sponsorshipmarketing agencies, wherehe worked with numerousvisual arts organizations andcultural institutions. His mostrecent clients, prior to joiningthe AGNS, include: the TorontoInternational Art Fair, No 9 Artand the Environment CuratorialAgency, the Bata Shoe Museumand the Toronto Artists’ Project.Ray Cronin, Mary Lynk, Lady Valda Ondaatje, John Greer, Sir Christopher Ondaatje andJohn Oliver in front of Greer’s statue Origins on the evening of the 2009 AGNeS Award.His experience gives the AGNS anational perspective on culturalsponsorship as well as privateand corporate philanthropy inthe visual arts. Mr. Doucet holdsa Bachelor of Arts from McMasterUniversity and an MBA fromDalhousie University.Autism Arts in ActionWith the very generous supportof The Craig Foundation, TheArt Gallery of Nova Scotia, inpartnership with the ProvincialAutism Centre, celebrates twosuccessful years of Autism Arts.Specially-designed art classes,facilitated by an artist and occupationaltherapist, are offered onSaturdays in the AGNS studios forchildren and youth with Autism,from age 6 to teens.“The success of Autism Artsover the last two years has beenoutstanding. For many childrenand teens with autism, thisprogram is the first successfulcommunity-based activity theyhave ever participated in. We arevery grateful that the Art Galleryof Nova Scotia recognizesthe importance of communityprograms like Autism Arts.”Cynthia CarrollExecutive DirectorProvincial Autism CentreArt & WellnessSince 2003, the Art Gallery ofNova Scotia has been workingin a variety of ways with theIWK Health Centre. Together,through exhibitions, specialworkshops, and consultation,we have further demonstratedthe important link between artand wellness. This past June,AGNS helped to organize HandsTogether, an interactive communityart piece to celebratethe IWK’s Centennial.Working over a two-day periodwith IWK patients and their families,staff, physicians, visitors,and volunteers, artists HeatherWilkinson and Melissa Marr createda site-specific felted muralcelebrating the strength anddiversity of the IWK community.Art is an ideal way to visually tellthis story. This mural is now ondisplay at IWK.The following are a few wordsfrom people involved in AGNS/IWK partnership initiatives includingparticipants in the AGNSArt Program with Choices:“Participation in the artspositively affects at least sevenof Health Canada’s twelve KeyDeterminants of Health. Child Lifeis very proud to work in collaborationwith AGNS to offer such highquality arts programming tothe children, youth, families andstaff members at the IWK. Thearts play a very important rolein helping children, youth andfamilies to cope with the stressesof healthcare experiences byallowing emotional expression,building self esteem and facilitatingdevelopment.”Krista Newman-BennettChildlife Specialist“I loved this experience! It mademe think LESS! Helped me cope,just have a lot of fun! I’d so loveto do it again. It’s something I’llnever forget!”“Coming to the art gallery hasimproved my mood.. I was reallyexcited about looking at the artwork, but I really enjoyed theproject that we did. It was relaxingand it helped me learn to trustmy partner. I would love to comeagain.”“I love this place! Just all the thingswe do were so creative.”“It was sweet!”Comments from Participantsinvolved with the AGNS Art Programwith Choices AdolescentAddiction and Mental HealthProgram IWK.Art Tour ComitteeThe Art Tour Committee of theAGNS has been organizing artcentredtrips for members since1984. Since 1990 these havebeen an annual event.Each year three trips are offered.The spring trip, for 2-3weeks in late April/early May,aims to explore and enjoy theart, architecture, culture andnatural setting of a particularcity or area, usually in Europe.Last year’s trip to Sicily andRome gave travellers a chanceto enjoy a stunningly beautifulisland with artistic treasuresranging from Greek temples toNorman cathedrals to jewel-likeBaroque cities, before going onto savour the glories of Rome.Plans are already under way tovisit Amsterdam next April. Thecity has magnificent art galleries,and is a delight to strollaround. We will take side tripsto some of the lovely smallercities around Amsterdam, andto the Kroller-Mueller Musuemin Otterlo with its amazing VanGogh collection.Nova ScotiaDesigner Crafts CouncilCunard Event Centre on Pier 23961 Marginal Road, Halifax WaterfrontFriday 10:00am-8:00pm,Saturday and Sunday 10:00am-5:00pmDay Pass $6.00, Weekend Pass $8.00Seniors & Students $5.00, Kids Under 12 FreeFOR INFORMATION CALL 423-3837WWW.NSDCC.NS.CACraft MarketNovember 20-22, 2009The Designer MarketOn the Waterfront32ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 33

34A day trip to visit artists’ studiosin Nova Scotia takes place inthe first week of June, andgives us a chance to see artiststalking about their work in theintimacy of their own surroundings.In 2008 participants spenta fascinating day in AnnapolisRoyal, while this year the daywas spent closer to home, inthe East Dover - Indian Harbourarea. Lunch at a local restaurantis included.A true tapestryof hand-crafted local treasuresthat create unique gifts, everydaypleasure and support community.Open 7 days.Located in The Hydrostone Market5527 Young St., Halifax • 453-3063Each fall a trip is planned to amajor art destination in Canadaor the U.S. This year, from October20-25, we will take you tothe lovely city of Boston. Thisis an art lover’s feast. Our visitwill include walking tours of thehistoric North End and the BeaconHill area, and guided toursof the Museum of Fine Art andthe Isabella Stewart GardnerMuseum, and more. Please visitSusan Tooke and Shauntay Grant during the celebration of the exhibition Up Home.The book of the same name illustrated by Susan and written by Shauntay, was therecpient of two recent Atlantic Book Awards.FINE CRAFTS OF ATLANTIC CANADAthe AGNS website for up-to-theminute information about upcomingtours.Ann Cameron, Chair,Art Tour CommitteeUp Home CelebrationOn April 30, 2009 the Art Galleryof Nova Scotia celebratedthe exhibition Up Home witha poetry presentation bystudents from Nelson WhynderElementary School and the artistsSusan Tooke and ShauntayGrant. This wonderful and warmevent celebrated the exhibitionsopening and the many recentaccolades for the book of thesame name. “Up Home” recentlywon two awards at the 2009 AtlanticBook Awards which werepresented at a gala celebrationWednesday, April 15. The bookwon both the Best AtlanticPublished Book Award andthe Lillian Shepherd MemorialAward for Excellence in Illustration.Shauntay Grant, the book’sauthor, is a broadcaster, spokenword artist, and musician wasalso recently named the Mayor’sPoet Laureate 2009/10. SusanTooke is an award-winning artistwho has illustrated many booksfor children, she paints murals,landscapes, and portraits, andcreates digital montages. “UpHome” is also short-listed forthe 2010 Hackmatack Children’sChoice Book Awards.Wayne Boucher StudioWorkshopIn May the AGNS offered a soldout Wayne Boucher StudioWorkshop. The event was enjoyedby all who attended.AGNS hosted FirstNations Olympicbound ArtThe Art Gallery of Nova Scotiahad the pleasure of hosting anexhibition called Keepers of theEastern Door. This exhibitionprovided an opportunity toview a selection of OlympicthemedAtlantic Aboriginal fineart before it is part of the 2010Winter Olympics in Vancouver.The selected Aboriginal artistsincluded: Maliseet artists ShirleyBear, Tobique First Nation, NB;Ned Bear, St. Mary’s First Nation,NB; and Dozay Christmas, Membertou,NS (originally from TobiqueFirst Nation, NB). Mi’kmaqartists Peter Claire, ElsitpotogFirst Nation, NB; Charles Doucette,Potlotek First Nation, NS;Jerry Evans, St. John’s, NL; GeraldGloade, Millbrook First Nation,NS; Todd Labrador, Acadia FirstNation, NS; Mary Louise Martin,Millbrook First Nation, NS; andAlan Sylliboy, Millbrook FirstNation, NS.APAGAConference at AGNSIn June, the AGNS hosted theAtlantic Provinces Art GalleryAssociation Conference. Thegathering was an excellentopportunity for galleries todiscuss issues pertaining to thepresentation and disseminationof art locally, nationally andinternationally. Over 40 delegateswere present to connectwith colleagues from the fourAtlantic Provinces, Ontario andNew York. This year’s themewas Public Art and CommunitybasedProjects, with a keynoteaddress by Rochelle Steiner (formerDirector, Public Art Fund)and presentations by Rina Greer(Director, Toronto SculptureGarden), Kim Morgan (PublicInstallation Artist) and JohnMurchie (Coordinator StrutsGallery, former AGNS AdjunctCurator and 2009 recipient ofAPAGA’s Lifetime AchievementAward). AGNS Programming Assistant,Laura Carmichael, alsopresented her role in Halifax’scommunity-inspired Nocturne,Art at Night festival.Sometimes Alwaysand nowhere if not heredelight summer visitorsIn June the AGNS openedtwo dynamic contemporaryexhibitions Sometimes Alwaysand Will Gorlitz: nowhere ifnot here. Sometimes Alwayswas a collaborative exhibitioncurated by Centre for Tapes’John Matthews and featuredartists from Canada, Germany,Mary Colin Chisholm as Maud Lewis in A Happy Heart. For the duration of the playA Happy Heart,the role of Maud is also played by Carroll Godsman.Northern Ireland and the UnitedStates. This multi-media exhibitionaddressed technologicalobsolescence and processes bywhich outmoded media are collected,conserved and archived.Artists presented works thatdeconstructed ‘obsolete’ formatswhile exploring our relationshipwith technology. nowhere if nothere organized and circulated byKitchener Waterloo Art Galleryexamined the art, backgroundand theoretical concerns ofcontemporary Canadian artistWill Gorlitz. A comprehensivecross-section of Gorlitz’s criticalinterests spanning a period ofnearly twenty years, the exhibitionexplored metaphoricalsubjects that reflect on nature,culture and technology. Both exhibitionswere well received byAGNS patrons over the summer.Maud Lewis PlayThe Art Gallery of Nova Scotia inconjunction with Greg ThompsonProductions is pleased topresent a new Maud Lewis playon stage at the AGNS. A HappyHeart: The Maud Lewis Story waswritten and produced by GregThompson, the same writer andproducer who brought Marilyn:Forever Blonde to the Art Galleryof Nova Scotia in Januaryof 2008. Thompson wrote theone woman play while in NovaScotia in 2008 and his newestwork examines the life and art ofMaud Lewis. Tickets for A HappyHeart: The Maud Lewis Story areon sale now. The play, whichopened in June continues untilOctober 25th. For more informationor to buy tickets pleasecall 424-5280.AGNewS YarmouthThe summer months at the ArtGallery of Nova Scotia WesternBranch were busy with funfilledevents. During this season,the gallery hosted numerousschool visitations, birthdayparties, and special Father’s Dayand Yarmouth Department ofLeisure Services’ Girls Day Outactivities, to name a few. Also,in keeping with tradition, theAGNS participated in the Townof Yarmouth’s annual Seafestfrom July 15 - 26th.The ongoing Creative Mindsseries had local artists AlexGigeroff and Sheila Miller sharingtheir personal accounts ofartmaking and life with the localcommunity. These presentationscomplimented a very specialpublic lecture by Halifax artistFrances Dorsey on Thursday,July 9th. Frances was invitedback to Yarmouth to provide anillustrated talk about her artisticpractice and solo exhibitionSaigon.Throughout July and Augustthe Gallery held its first SummerArts Program. This program washeld in the Community Roomand featured weekly classesfor children as well as adults inthe areas of ceramics, painting,drawing, felt-making and pastelportraiture. Instructors this yearincluded artists Elaine Deveau(Church Point), Maggie Mandell(Wedgeport), Isao Morrill(Church Point), Jennifer Quercia(Bear River), Denise Robicheau(Church Point), and Liz Walker(Yarmouth). As we look ahead,this program will serve as astrong foundation for futurecourse offerings at the WesternBranch. Educational initiativesthroughout the fall and winterseasons include activitiescentered on the Flight Dreamsexhibition, as well as a seriesof professional developmentworkshops geared towardspracticing artists. The artistworkshops will range from a sessionon grantwriting to anotherthat provides an overview of theprocess of applying to galleriesand museums for exhibitions.Please look to our website forupdated details and dates.Beyond curating two exhibitions,Reflections on the Sea: TallShip Portraits and Models andInto the Wild, for public view thissummer and autumn, David Diviney,Curator of Programs, hasbeen actively working towardsthe development of the gallery’sprogramming initiatives.His plans include a curatedexhibition that will provide anoverview of the artistic productiontaking place in the SouthWest region of the province. Thefirst installment of this biennialformat group show is slated forpresentation in the Main Galleryin autumn 2010. David has beenconducting studio visits withartists from Digby, Shelburneand Yarmouth counties inanticipation of this project andothers aimed at highlightingthe artistic excellence of NovaScotia’s South Shore.Liz Walker leading a Creative Minds talk at the AGNS YarmouthSince July, Angela Collier, GalleryCoordinator, has been servingon the Advisory Board for the4th annual edition of the CreativeNova Scotia Awards Galaand Conference to be held inYarmouth on October 24th. Theteam at Art Gallery Nova Scotialooks forward to welcoming theconference participants to ourcommunity.Lastly, please drop by the ArtGallery of Nova Scotia WesternBranch and visit our new retailspace. Our gallery shop offers arange of items, from exhibitionpublications to unique gift itemsand apparel for all ages.Note:Passing Through: Iain Baxter&Photographs 1958 to 1983,curated by James Patten,Organized and circulated bythe Art Gallery of Windsor.This project was made possiblein part through a contributionfrom the Museum AssistanceProgram, Department ofCanadian Heritage.This circulation information wasomitted from Volume 32.ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 35

Art MarchéEVENTS, GALLERIES, ARTISTS, SERVICES & DEALERSFisherman’s Cove GalleryEastern PassageOpen May - Dec461-4099Jacqueline SteudlerFall River, Nova ScotiaAs a visual artist Jacqueline Steudlerloves to combine natural shapesand forms with bold colours. Enjoyher paintings on her new web site:www.jacquelinesteudler.comCotton Candy CupcakeBeautiful leather fashion accessoriesdesigned specifically to attract manycompliments and get you noticed.Each and every piece is carefullydesigned and handcrafted by artisanRita Van Tassel in Halifax, NS.Reward yourself or someone elsewith an inspired gift fromwww.cottoncandycupcake.com!Kelly Jane Barker , Quilterh: (902) 446-1732www.kellybarker.caIndividually hand crafted, each quiltKelly makes is hand or machine sewnusing donated, recycled and alternativematerials.Visit www.kellybarker.ca, “Kelly’sArtwork”, to view a selection ofquilts. She will also be at the HalifaxFarmer’s Market Saturdays during thefall. Commissions are welcome.Seaforth Studio Art ClassesCreative Fine Art Classes for ages 6 -teen, in which a wide variety of art isexplored through various traditionaland non-traditional media, throughart methods and theory, art historyand various artists. Classes held inSeaforth, N.S.for information:Marlene York827-3433www.seaforthstudio.comAGNS Art Tour Committeeoffers 3 trips annually. The Art TourCommittee of the AGNS has beenorganizing art-centred trips formembers since 1984. Since 1990these have been an annual event.Each year three trips are offered.The spring trip, for 2-3 weeksin late April/early May, aims toexplore and enjoy the art , architecture,culture and natural settingof a particular city or area, usuallyin Europe. Last year’s trip to Sicilyand Rome gave travellers a chanceto enjoy a stunningly beautifulisland with artistic treasuresranging from Greek temples toNorman cathedrals to jewel-likeBaroque cities, before going onto savour the glories of Rome.Plans are already under way tovisit Amsterdam next April. Thecity has magnificent art galleries,and is a delight to stroll around.We will take side trips to some ofthe lovely smaller cities aroundAmsterdam, and to the Kroller-Mueller Musuem in Otterlo with itsamazing Van Gogh collection.A day trip to visit artists’ studiosin Nova Scotia takes place in thefirst week of June, and gives us achance to see artists talking abouttheir work in the intimacy of theirown surroundings. In 2008 participantsspent a fascinating dayin Annapolis Royal, while this yearthe day was spent closer to home,in the East Dover - Indian Harbourarea. Lunch at a local restaurant isincluded.Each fall a trip is planned to amajor art destination in Canada orthe U.S. This year, from October20-25, we will take you to thelovely city of Boston. This is an artlover’s feast. Our visit will includewalking tours of the historic NorthEnd and the Beacon Hill area, andguided tours of the Museum ofFine Art and the Isabella StewartGardner Museum, and more.Please visit the AGNS website forup-to-the minute informationabout upcoming tours.Art Gallery Shop to hostMetal Arts Guild ExhibitionOct. 8 - Nov. 1, 2009The Metal Arts Guild of Nova Scotiawas formed in 1951, making it theprovince’s oldest craft organizationin continuous existence. Currentmembers consists of metalsmiths,sculptors, jewellers, educators,students, collectors, enthusiastsand supporters alike. To its members,whether renowned or novice,the Guild serves to inform andeducate, as well as promote andsupport. Their Annual Competitionand Exhibition continuesto challenge its members. Eachyear, participants of the competitionare encouraged to submitwork that incorporates an annualtheme, whether in execution or inconcept.This year participants are askedto explore the theme of Sea Lifethrough their work. The result isalways some of the finest in NovaScotian craftsmanship, design, andtechnical expertise, ranging fromthe sculptural, to the wearable, tothe utilitarian.2009 marks the sixteenth yearthe AGNS Gallery Shop hashosted this competition andexhibition. Many show pieces, aswell as other MAGNS work, willbe available for sale.Inspired by architecture, foundobjects, traditional design, trendsin colour and shape, and theexploration of new techniques andmaterials, Jonathan has created aline of affordable jewellery usingcombinations of sterling silver,sterling and 14k gold, semi precious,and man-made stones.Genuine pearls in natural shades ofwhite, pink and mauve on twisteddouble 100% silk thread, finishedwith sterling silver findings. Angelaalso creates jewellery using dyedor irradiated pearls, which provdesmore saturated colours. Somepieces are strung with Swarovskicrystals for extra effect.Artist Laura Dawe wrote and isdirecting her first feature lengthmovie. It is a pre-apocalyptic lovetriangle. The first block of shootingwas funded primarily through donationsand the sale of her paintings.She must raise $18,000 to continuethis groundbreaking project. Emaillaura.dawe@gmail.com to buy artor to donate.Paul Thompson CarpentryFinish Carpentry Servicesp: 433-0247c: 225-4115thompsong@eastlink.ca©Bob Brooks PhotographyTheBENVisual CommunicationsDesign ∙ Photography ∙ Illustrationwww.benscottworks.comStoryA play based on the life of renownedNova Scotian folk artist, Maud Lewis.Brought to you from the writer andproducer of Marilyn Forever Blonde,award winning playwright Greg Thompson.TicketsMembers $20 + HSTNon Members $24 + HSTOn view untilOctober 25, 20091313 HollisSaturday October 17 th , 20096pm-midnightAnna Leonowens Gallery,NSCAD UniversityArgyle Fine ArtArt & Jules Art GalleryArt 1274 HollisArt Gallery of Nova Scotiaand Art Sales & RentalGalleryCentre for Art TapesCraig Gallery at AlderneyLandingArt Never SleepsGalleries open late.Art in public spaces.A free event.Art never sleeps. Don’t miss out on an exciting eveningof creativity throughout the HRM. Be sure to check outthese participating galleries.www.nocturnehalifax.caSaturday October 17 th , 2009Viewpoint Gallery6pm-midnightDalhousie Art GalleryEyelevel GalleryFRED. beauty food artGallery Page and StrangeHydrostone GalleryThe KhyberMSVU Art GalleryMary E. Black GalleryPier 21Queen Street StudiosSecord GallerySeeds Gallery,NSCAD UniversitySMU Art GalleryStudio 21Fine Art GalleryUnion Studio & GalleryVisual Arts Nova ScotiaArt Never SleepsVeith Street GalleryGalleries Studio Association open late.Art in public spaces.Zwicker’s GalleryA free event.www.nocturnehalifax.caTO ADVERTISE IN THEMARCHE SECTION PLEASECONTACT KEVIN LANDRYAT (902) 482.3895 ORKEVINLANDRY@EASTLINK.CA36creative custom carpentry for perfect finishesWWW.ARTGALLERYOFNOVASCOTIA.CAART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009 37

Pantone 129 cPantone 1795 cPantone 342 cPantone Black cNova Scotian & Canadian hand-made Jewellery, Pottery, Textiles, Glass, Folk ArtArt Books, Reproductions, and many more very special finds!Proceeds from the Gallery Shop help support your Art Gallery of Nova ScotiaTHE GALLERY SHOP1723 Hollis Street, Halifax • (902) 424-4303 • Open 7 days a weekWWW.ARTGALLERYOFNOVASCOTIA.CAwww.artgalleryofnovascotia.caRetailers interested in carrying Art Gallery of Nova Scotia merchandise including the Maud Lewis Collection please contact AGNSWholesale@gov.ns.ca or 902-424-8094.38ART GALLERY OF NOVA SCOTIA FALL JOURNAL 2009

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