The AGGV is honoured to have in its collection a painting by the prominent female artist Paraskeva Clark. Executed in 1948, the watercolour depicts one of the artist’s favourite summer locales of Georgian Bay. It also marks a period of proliferation in her artistic output when her travels to nearby scenic spots allowed her to paint more landscapes.
Calling all you birders! Not only can birdwatching be done through binoculars or telescopes, by listening for bird sounds or watching public webcams, but it can also be done through browsing the AGGV collection with a naked eye. Can you guess what kind of birds are depicted below?
The maritime history of the Pacific Northwest and the connection to these waters endure in the cities and towns along the coasts, and there are an endless amount of artworks through the centuries that celebrate the culture of seafaring in these parts.
By Marina DiMaio, AGGV Curatorial Assistant
Dylan Thomas’s work has been deeply influenced by a lifelong passion for Northwest Coast art, as well as, Vajrayana Buddhist mandalas, Celtic knots, Islamic tessellations, and many other ancient geometric art traditions.
Matriarchs: Prints by First Nations Women is an exhibition that aims to build relationships with First Nations artists and is guest-curated by Margaret August, a Two-Spirited, Coast Salish artist from Shíshálh Nation.
Enter the darkened Centennial Gallery at the AGGV and vicariously experience what it would be like to travel as a virtual camera moving around the sculptural looping installation that has been constructed out of tubular steel in the centre of the room. Film Path/Camera Path with under-titles is a conceptual multi-media artwork that combines the moving images of film with a sculptural expansion of a 35mm projector.
Originally from Toronto, Estraven is an artist-researcher and educator whose practice involves sound, print, video and installation work.
The artists involved in Imagining Fusang: Exploring Chinese and Indigenous Encounters were invited for a panel discussion in early July, where they revealed the motivation behind their individual interest in the concept of Fusang.
Considered “the soul of the samurai”, the Samurai sword was the embodiment of the code of bushido (“the way of the warrior”) with its self-discipline, unquestioning devotion and ultimate skill.
The length of Moss Street, from the waterfront to the Art Gallery, thronged with happy people out for the art, the food, and the festive atmosphere.