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Home Nov 2020 – Jan 2021 British Columbia Vignettes

Nov 2020 – Jan 2021 British Columbia Vignettes

by admin

By Robin Laurance

Ulli Maibauer, Untitled (Bear Creek), c. 2000. SAG2019.18.01. Photo: SITE Photography.

WHERE WE HAVE BEEN
Surrey Art Gallery, Surrey. To Dec 13

Drawn from the gallery’s permanent collection, multiple works across a range of disciplines examine the ways in which place and identity intersect in the South of Fraser region the gallery serves. In his exhibition statement, curator Rhys Edwards notes that art may situate an artist fi rmly in place or query the often complicated relationship between home and identity. Artists include Jim Adams, Sonny Assu, Sylvia Grace Borda, Karin Bubaš, Shani Mootoo, Bill Rennie, Nicolas Sassoon and Jan Wade.

Leanne M. Christie, Rezone Hastings, 2019 Courtesy of the artist

WAYFINDING
Art Gallery at Evergreen Cultural Centre, Coquitlam. Nov 14, 2020 – Jan 31, 2021

Whether working within the dictates of Modernism or Postmodernism, artists have long been interested in how human beings shape our urban environment – and how it in turn shapes us. The three artists featured here – Leanne M. Christie of Coquitlam, Sara Graham of Port Moody and Devon Knowles of Vancouver – employ painting, photography and concept-driven stained glass to interpret and convey architectural languages and materials.

Kent Monkman, Nativity Scene, 2017. Collection of Museum London. Gift of the Volunteer Committee (1956–2017)

SHAME AND PREJUDICE; A STORY OF RESILIENCE – BY KENT MONKMAN
Museum of Anthropology at UBC, Vancouver. To Jan 3, 2021

As the cross-Canada tour of Kent Monkman’s spectacular exhibition climaxes at MOA, news has come through that the Metropolitan Museum of Art in New York has acquired the Cree artist’s monumental diptych mistikôsiwak (Wooden Boat People) – further proof of his growing international standing. Like the paintings and installations in Monkman’s multidisciplinary exhibition at MOA, mistikôsiwak employs the conventions of Western art history to “upend conventional historical narratives of the European settlement of North America.”

Photo: North Vancouver Museum & Archives, NVMA 861

WOMEN & WARTIME: DEFENDING NORTH VANCOUVER, 1939-1945
North Vancouver Museum & Archives, North Vancouver. nvma.ca/virtual-exhibits

Through archival photographs and historical documents, this online exhibition traces the important roles women played in North Vancouver during World War II. Whether enlisted in the armed forces or working in shipyards and factories, women made a huge contribution to the war e ort. However, because of the internment of Japanese Canadians from 1942 to 1949 and the confiscation of their property, also documented here, the show is as much about the shameful wartime treatment of some community members as it is about the empowerment of others.

Bracken Hanuse Corlett, Potlatch or Die, 2018. Photo: Don Hall Courtesy of MacKenzie Art Gallery.

BOARDER X
Nanaimo Art Gallery, Nanaimo. To Nov 15

Organized by the Winnipeg Art Gallery and curated by Jaimie Isaac, this lively exhibition spotlights 12 Indigenous artists who surf, skate and snowboard – and use these activities to challenge conformity and navigate their terrain. Through a range of media, from painting and carving to performance and video, the artists critique the status quo while a rming their cultural identities and their enduring connection to the land. Complementing the show is a mini half-pipe in the gallery’s Art Lab education space.

Pierre Coupey, Algonquin II, 2020.

PIERRE COUPEY: WALKING THE CAT BACK
Gallery Jones, Vancouver. To Nov 21

Senior abstractionist Pierre Coupey is represented here by three bodies of work executed on paper and canvas: Stanza, Winter Poem and Algonquin. As curator and museum director Darrin Martens has written, Coupey’s artistic practice draws from multiple disciplines – he is a painter, a poet, a printmaker, an editor and an educator. His large, splashy and brushy paintings reveal, among other influences, the work of revered Abstract Expressionists Joan Mitchell and Jean-Paul Riopelle.