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Visual Artists as Entrepreneurs and Marketers
September 2013
Visual Artists as Entrepreneurs and Marketers

Audain Art Museum
June 2013
Siting an Art Museum in a Forest

Gordon Smith Gallery
November 2012
Boosting the Profile of Artists for Kids

September 2012
From glacial meltwater to contemporary art

Morris & Helen Belkin Gallery
June 2012
Professional curators of contemporary art were once as scarce as hen's teeth

Equinox Gallery
April 2012
Gallery owners have their eye on East Vancouver

Equinox Gallery
February 2012
Gallery owners have their eye on East Vancouver

Jacana Gallery
November 2011
Nothing is certain but death and taxes

Satellite Gallery
September 2011
Hope springs eternal

June 2011
The Hotel Waldorf

April 2011
Education for the eye,
soul and mind

February 2011
Fine art inkjet prints
are here to stay

November 2010
SAAG endows the old
with new possibilities

September 2010

June 2010

April 2010

February 2010

November 2009

September 2009

June 2009

April 2009

February 2009

September 2008

April 2008

February 2008

November 2007

September 2007

June 2007

April 2007

February 2007

November 2006

September 2006

June 2006

April 2006

February 2006

November 2005

September 2005

June 2005

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February 2005

November 2004

September 2004

June 2004

Gallery Views


Susan Edelstein, The Ivory Soap
Susan Edelstein, The Ivory Soap, installation at Access Gallery, Vancouver, BC, in 1995

The site of the premise, the vision of its directors and the appropriateness of the exhibition's program to the fulfillment of its objectives, are factors contributing to a gallery’s critical and/or financial success.

This column will sometimes be concerned with the physical position of a gallery, because as a real estate agent would stress ‘Location! Location! Location!’ is a prime consideration when choosing a dwelling or a place for business. Alternatively, it will introduce the reader to a manager of a commercial or non-profit exhibition space who will reveal the behind-closed-doors-thinking that occurs when shows are conceived and when artists are added to a gallery’s stable.

Running any kind of gallery is more than a job, it’s a 24-7 vocation. Since a commercial art venue’s rent can be five figures a month and must be covered before any other expenses are paid, the dealer must have an excellent strategy and high energy. A non-profit gallery director and board must continue to satisfy its funder’s expectations or risk becoming a footnote in art history.

In the next issue of Preview, the roster of galleries that have occupied the early-century rooming house at 555 Hamilton Street in Vancouver will be chronicled. This issue’s visual is Susan Edelstein’s The Ivory Soap installation that existed for a few weeks when it was part of The Spectacular State exhibit that presented artists’ views about fascism in several local spaces. The art piece was set in the window of the Access Gallery on West Hastings Street, a gallery now located at 206 Carrall Street.

Edelstein, who was then director of Artspeak, soon became the curator of the Kamloops Art Gallery and now lives in Ontario. The Ivory Soap, (replete with shower curtain, basin, ewer and a stack of soap) installation is gone and both Artspeak and Susan have moved, proving that in the art world it is not always true that “the more things change, the more they remain the same.”


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