By Audrey Wang, AGGV Volunteer
Three paintings by Maud Lewis (1903-1970) were recently gifted to The Art Gallery of Greater Victoria by Frances E. Rose, a wonderful first acquisition for the Gallery of work by the renown Nova Scotian artist.
By Regan Shrumm, Assistant Curator, AGGV and Amy Smith, Community Engagement Coordinator, Legacy Art Gallery
For three Sundays in October, the Art Gallery of Greater Victoria and the Legacy Art Galleries held Collective Grief, Collective Futures. This series of discussions gave space for emerging artists to grief the losses that have been experienced during the pandemic and discuss methods of adapting to share a creative future.
by Regan Shrumm, Assistant Curator of Art Gallery of Greater Victoria
In December 2018, Libby Oliver approached me with an idea inspired from a new movement of intergenerational living happening between arts organizations and care homes. She pitched a program where artists would help bridge the ever-expanding gap between young adults and seniors.
Put on your thinking caps for this issue’s Art Quiz where we test your knowledge about women in art! Answers are at the bottom of the page. We’ll start easy, but good luck!
By Audrey Wang, AGGV Volunteer
The AGGV’s collection of porcelains from the Nanking Cargo is a clear representation of the types of ceramic wares that the VOC imported in large quantities to Holland.
By Audrey Wang, AGGV Volunteer
Seals were used well over 3,000 years ago in China to authenticate official documents. They continued to be used throughout Chinese history, acting as a signature for documents, but also in paintings and calligraphies.
Nicole Stanbridge, Curator of Engagement, AGGV, interviews India Rael Young, Curator of Art and Images at the Royal BC Museum about the exhibition Emily Carr: Fresh Seeing – French Modernism and the West Coast.
“Celebrating the AGGV Collection” is currently on show at the Art Gallery, with one room devoted entirely to the Gallery’s extensive collection of drawings. Much more than just the application of pencil to paper, drawings can be both a preparatory tool and the end product of an artwork.
By Marina DiMaio, Digital Potentials Advisory Coordinator
Beginning in the summer of 2020, and with the assistance of a Canada Council for the Arts Digital Literacy and Intelligence grant, the AGGV established a cyber support community to assist with the gallery’s increasing need for digital support and guidance as it undertakes a longterm experimental digital project that further considers the connections between digital literacy and curatorial thinking, and how these connections might be applied.