Home Contact | Advertising Subscribe Museum of Anthropology at the University of British Columbia
Search Listings
Alberta British Columbia Oregon Washington
Exhibition Previews
Calendar
Gallery Websites
Conservation Corner

SEARCH EDITORIAL
To find gallery listings use search at page top right.

CURRENT COLUMN

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

Equinox
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
reimagined


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

April 2005

February 2005

November 2004

September 2004

June 2004



Gallery Views

Club Five Sixty on Seymour Street

Club Five Sixty on Seymour Street in Vancouver targets “urbanites seeking a little nightlife who also appreciate art, fashion and film.”

Hope Springs Eternal

By ANN ROSENBERG
annrosenberg@shaw.ca

Don Payne's distorted images

Don Payne's distorted images of “deeply troubled people” are featured in a show opening Sept. 17 at Club Five Sixty.

Alexander Pope’s 1734 An Essay on Man contains the oft-cited adage that no matter what the adversity, “Hope Springs Eternal in the human breast.” In the last five years natural disasters have devastated many parts of the world and monetary crises have shaken the foundations of financial institutions including those in the United States. Several countries have recently declared bankruptcy, a fate the U.S. has so far narrowly escaped. These days, capitalism’s favourite panacea of “borrowing from Peter to pay Paul” will become more difficult and more expensive to achieve. Clearly, only an optimist would dare to initiate any business, especially a gallery, in the present economic circumstances.

Last issue I described the Waldorf Hotel on East Hastings (which opened in October 2010) as an excellent example of a new approach to creating a stimulating (and financially viable) venue where “art, music, and food convened under one roof.” People could eat, drink and be merry while gaining an amazing range of aesthetic experience and knowledge. At the Waldorf, “high” and “low” culture carom like balls on a pool table gaining energy and animation from each other. The infamous black velvet paintings of Edgar Leeteg, hung on the walls of the Tiki Bar, flaunt naked breasts in plain view of an open-minded audience.

A March 2010 issue of Business in Vancouver featured an article on former Graceland owner Vince Alvaro who had just opened Club Five Sixty on Seymour, an operation with a philosophy similar to that of the Waldorf Hotel. He hoped his club would cater to “urbanites seeking a little nightlife who also appreciate art, fashion and film.”

His business concept was blessed by Charles Gauthier, Executive Director of the Downtown Vancouver Business Improvement Association, who saw the need for a club like the one the Alvaro team proposed for that particular urban core location – a nightspot that would bring sophistication and class to an area that was often rowdy, especially after the bars closed. The four-storey edifice of Five Sixty contains 29,000-square-feet carved into three dance floors, five bars, two lounges and two galleries on the mezzanine that are leased from the club. The Blanket Gallery is a commercial space and neighbour of the Satellite, which is connected with non-profit institutions like the Morris and Helen Belkin Gallery, the Museum of Anthropology, and Presentation House Gallery, and run in accordance with the mandate of the Michael O’Brian Family Foundation.

A Satellite gala event on September 17 will celebrate a major show of new works by Don Payne, a senior artist from Hornby Island. Behind the main bar of Club Five Sixty a group of back-lit photographs by well-known florist Thomas Hobbs will be installed. “Will they be images of flowers?” I asked of him, expecting a “yes”. “No”, replied Thomas, “They are digitally distorted images of the deeply troubled people, like the one I call Marilyn, who bare their souls on talk shows”. As at the Waldorf, the only thing that can be expected here is the unexpected.

Alternatively, to start and run a successful stand-alone gallery, one has to have a passion, an ever-developing expertise and the appropriate zeal. Craig Sibley of the Trench Gallery on Vancouver’s Alexander Street conforms to that ideal by providing exhibition and consignment space especially for those who began their careers in the 1960s. The summer exhibition Monomania, for example, featured historically significant pieces like Gary Lee-Nova’s Sinking Ship.

His exhibitions not only demonstrate his energy in making contacts with appropriate artists and assembling lists of potential buyers, but are bearing fruit. According to Sibley, the gallery name is a metaphor for the “good fight” because “sometimes you have to fight to keep a gallery going.”

Finally, the Lúz Gallery for Photographic Arts in Victoria’s Oak Bay has been operating from its present Art Deco storefront and backroom studios since 2008. Director/Curator Diana Millar offers exceptionally high quality shows in the rather small-sized gallery that frequently include very few pieces as in the Still Pendulum show by Dan MacDougall. Her partner in business and life, Creative Director Quinton Gordon, is responsible for most other tasks including the organizing of specialized workshops led by known practitioners in the field of photography which are now drawing students from many parts of the world.

Lúz, the Spanish word for “light”, summarizes the essence of one aspect of the photographic aesthetic; the opposite of which is “oscura” or dark. The fact that its name is not in English reflects the international experience of the couple and their aim to create a centre that will be known everywhere. Perfect presentation is the hallmark of all aspects of this enterprise including its on-line promotions.

Beauty that expresses all things significant (including even unpretty truths) is what gives the optimistic proprietors above their raison d’etre. As Craig Sibley said, “If you have an art work you love, you will never toss it into the landfill.”

Ann Rosenberg is a freelance curator, critic

Lúz Gallery for Photographic Arts

Lúz Gallery for Photographic Arts in Oak Bay has been has been aiming for perfect presentation from its Art Deco storefront and backroom studios since 2008.

Gary Lee-Nova’s Sinking Ship

Gary Lee-Nova’s Sinking Ship from the summer exhibition Monomania at Trench Gallery on Alexander Street.

Back

Art Services & Materials