Jaimie Isaac joined the AGGV as the new Chief Curator in September 2021, and we’re excited to get to know her more in this interview!
By John Manson, Gallery Shop Coordinator
Get Cozy and Stay Cozy is the theme of the Gallery Shop Reading list this quarter. A great way to relax and get comfortable amid unpredictable winter weather is to curl up with a good book. These titles are all available in the Gallery Shop and are compelling reads for art lovers to enjoy this winter.
By Marina DiMaio, Digital & Print Assets Coordinator
Howie Tsui’s solo exhibition Retainers of Anarchy has come and gone from the AGGV Galleries, but the artist’s immersive storytelling environments continue to live on in a digital installation on our website — through a Collaborative GIF Mosaic!
Inspired by Tsui’s referential video collage, Threading Needles through the Pupil, previously installed in the exhibition, this Collaborative GIF Mosaic offers the opportunity for artists and anyone from the community to engage with Tsui’s interest in visual sampling, memory and nostalgia which permeate his recent media work.
By Ross Neasloss Jr. (Kitasoo Xai Xai’s Nation)
The Holding Ground exhibit, has been a monumental experience for me. Working with so many Indigenous folks from all across turtle island. We met bi-weekly to share stories, and hold space for our deep emotions and connections to the land and each other. Along with my personal journey of land based healing, I received some wonderful words and messages during those times. These messages I got, I do not carry lightly, as they deserve to be held with care and compassion.
The current exhibition The Places We Live In considers the many ways artists interpret the natural world around them, from the micro to the macro. The range of works featured here is equally varied! This issue of Art Terms takes a few wide-ranging, unrelated, examples from this exhibition.
By Oona McClure, Studio Coordinator
We recognize that making art is rather magical. It provides exceptional opportunities to build skills, create connections, boost confidence, explore ideas, and express feelings. It also offers a space to learn about ourselves and others as well as fostering meaning and inspiration.
By Dani Neira
I took the Feminist Art Field School from my kitchen table. I’d watch the weekly conversation as I cooked myself spaghetti, have my morning coffee during our synchronous Thursday sessions, and talk lesbian haunted houses over drinks with friends. My kitchen table, a place I associate with nourishment, care, and conversation, became the intimate space through which I learned.
The exhibition Places We Live In delves deep into the natural world, our place in it and its place in us, from the point of view of artists in the AGGV’s permanent collection. In this article, we will look at a few of the Canadian artists featured in this exhibition, whose works impel us to look closely at the microcosm of life on earth, to look up to the sky and vast cosmos above us, and to look around at our natural surroundings that support life on earth.
By Audrey Wang, AGGV Volunteer
With its origins in China, this quarter’s column of “10 Things To Know” will look at Chinese blue and white porcelain and its myriad decorative themes. Behind every design element are symbolic meanings relevant to the maker or to the eventual owner of the piece. What does each theme signify and what does that tell us about the piece?
Although learning the art of installation can take some time to get comfortable with, it doesn’t need to be daunting! In November, the AGGV’s Art Rental & Sales Consultant Karen Cooper spoke to a group of gallery community members, breaking down the ins and outs of hanging artwork and how to gain confidence in your install. Now you can learn too! Here, Karen shares her advice and experience as to the art of the install.
By Audrey Wang, AGGV Volunteer
December 13th, 2021, marks the 150th anniversary of Emily Carr’s birth. Beyond this commemoration, the AGGV’s exhibition Emily Carr: Seeing + Being Seen features artworks that carry significance that is as relevant today as they were nearly a century ago when they were first made.
By Mel Granley, Guest Curator
Emily Carr has become almost synonymous with the Pacific Northwest; her work being displayed year-round in different exhibition contexts to ensure the satisfaction of visitors to the AGGV. This drive to see her work is directed by the idea of checking off a list of great and thoroughly known artists within the artistic canon. The issue? The “art canon” is heavily Euro-Western centered and very keenly demonstrates a bias for settler-European art, while largely failing to acknowledge the artistic merits of historic and contemporary BIPOC artists.
By Alex Chen
“I don’t sing.” That’s what a majority of students admitted to me during a school workshop. However, perhaps to their surprise, by the end of our hour-long workshop, the students were not only using their voices and bodies to make art, they were taking chances expressing their artistic observations, collaborating with their peers, and having fun doing so! In this year’s iteration of the AGGV’s School Workshops, spanning October to December, Jennifer Van de Pol (AGGV Educator for School and Family Programs), a class of UVic Indigenous Education Students headed by Dr. Carmen Rodriguez de France, and myself visited young learners in schools across the Greater Victoria Area to delve into the works by local visual artist Dylan Thomas (Qwul’thilum) as well as my own artistic practice as a classical musician and opera artist in Victoria.