The exhibition Latent emerges from conversations between artist Lynda Gammon and curator Carolyn Butler Palmer over the past several years about how artists who identify as women are often overlooked, ignored and sidestepped. At the Legacy Art Galleries, over the past decade the majority of solo exhibitions have featured the work of women artists and this exhibition furthers a desire to bring forward their work by honouring the many women who remain hidden in the University of Victoria’s Art Collection and the mechanisms that conceal them from view: the vault, accessioning, and the catalogue.
Piers is a group exhibition showing contemporary artwork ranging across media by 18 artists spanning generations, nationalities, and backgrounds, exploring how artists’ practices change through teaching, learning, and mentorship.
Artists: Katie Bethune-Leamen, Cedric Bomford, Lauren Brinson, Yan Wen Chang, Megan Dickie, Laura Dutton, Annika Eriksson, Daniel Laskarin, James Legaspi, Christopher Lindsay, Evan Locke, Danielle Proteau, Hollis Roberts, Arlene Stamp, Jennifer Stillwell, Beth Stuart, Grace Tsurumaru, Paul Walde.
Artist-teachers practice in a hybrid space where pedagogy, art-making, and research intertwine and inform each other. UVic Art Education faculty and sessional instructors share their diverse perspectives, approaches, and experiences inviting visitors to consider ways in which art education stimulates engagement with critical questions and creates stronger connections between people, places, and ideas.
Artists:
Robert Dalton, Mike Emme, Karen Hibbard, Natalie LeBlanc, Connie Michele Morey, Regan Rasmussen, Natasha S. Reid, Kathleen Schmalz, Alison Shields, Shruti Tandon, Michelle Wiebe, William Zuk, Caren Willms
Image: Mike Emme, Lockers, 1986/2022.
Related Programming
‘that to which we cling’ Drop-in clay hand-building workshop with Regan Rasmussen
Saturday, May 14 2022 | 11-3pm UVic Legacy Art Gallery Downtown | 630 Yates St.
Facilitated by Regan Rasmussen (UVic Art Education), this workshop is dedicated to the theme of resilience. Using local mollusk shells as inspiration and applying clay hand-building techniques, participants will respond to a ceramic sculpture installation from the exhibition Breaking the Mold by making their own small ceramic artifact while considering the question: What beliefs and practices do we cling to for sanctuary and resilience in times of adversity?
Free and open for all ages Drop-in, no registration required
Saturday, June 18 2022 | 12-3pm UVic Legacy Art Gallery Downtown | 630 Yates St.
Come join us for a pop-up art hive in the gallery! Visitors are invited to experiment with art making in a welcoming drop-in community setting. To learn more about art hives, visit www.arthives.org. As a starting point, Natasha S. Reid will facilitate an activity that explores various fruits and vegetables commonly grown in Jamaica.
At the end, you can give your finished art work to ISSAMBA’s La Teranga Food Distribution to be added to a food hamper or you can bring it home and gift it to someone you know.
This art activity is an extension of Natasha’s artwork Plantain Belt currently exhibited in the Breaking the Mold exhibition at UVic’s Legacy Gallery (630 Yates Street).
Button blankets by Westshore Colwood Campus students. Curated by UVic Art History and Visual Studies students. A project of the Legacy Chair.
Button blanket robes are textile regalia worn in Northwest Coast feasts and ceremonies. Urban Regalia: Westshore Stories carries the vision of Gitxsan button blanket maker, fashion designer, and teacher Sugitt Lukxs — Yolonda Skelton from her studio to her students at the Westshore Colwood Campus. Westshore students tell stories from their lives and from making connections to the land using ovoids, u-forms, s-forms, melton wool fabric and buttons. UVic Art History and Visual Studies students curated this exhibition as part of their learning about oral art histories. Urban Regalia: Westshore Stories represents shared learning experiences and emerging connections between UVic and Westshore classrooms.
Curated by faculty members with graduate students Jaiya Anka and Atri Hatef
Using diverse historical and contemporary cultural objects, members of the Department of Art History & Visual Studies show how history, learning, and community interweave to support the mission to teach inter-cultural understanding through the study of world arts.
Image credit: EVA CAMPBELL, UNTITLED, 1992-93, MIXED MEDIA & OIL ON CANVAS. FACULTY OF GRADUATE STUDIES
We live in a visual world where images define our lives. Yet, are we in danger of taking the visual for granted? This lively panel discussion argues that with xenophobia, ethnocentrism, and censorship on the rise, art has more to offer society than ever before in human history. The panel accompanies the exhibition “Learning Through Looking – Celebrating the 50th Anniversary of the Department of Art History & Visual Studies at the University of Victoria.” Part of Ideafest.
We know Grafton Tyler Brown (1841-1918) was one of the first professional landscape artists to work in the Pacific Northwest. His few regional paintings that survive offer vivid windows into the world of 1880s Victoria and British Columbia. Yet, how did this African American artist succeed at a time when racial prejudice prevented most Blacks from entering any skilled profession?
Image credit: Portrait of Artist Grafton Tyler Brown, Image A-08775 courtesy of the Royal BC Museum and Archives
EVENTS & PROGRAMS Curator’s Talk with Guest Lecture
February 4 | 3 – 4:30pm *Light Refreshments Provided
Kick-off Black History Month with an afternoon presentation about BC’s first Black professional artist with UVic History Department Chair John Lutz and writer, Robert J. Chandler. Facebook Event Page
Three local artists, Charles Campbell, Kemi Craig and Ann-Bernice Thomas respond to the story of Grafton Tyler Brown, BC’s first Black professional artist. Part of Ideafest. Facebook Event Page
Generously supported by the British Columbia Arts Council
The exhibition premiering at the University of Victoria’s Legacy Art Gallery Downtown, IN DEFIANCE emerges from Iroquois Mohawk artist Lindsay Delaronde’s photographic project entitledSquaw. This project, in utter defiance to that negative word long often used to denigrate Indigenous women, seeks to break down the stereotypes. These individual portraits dismantle the negative stereotypes of First Nations women by allowing the individuals to portray themselves more authentically reflecting truth of diversity, power, and respect.
To read a paper entitled In Defiance: An exhibition as feminist adult education by Darlene E. Clover, University of Victoria, Tracey Murphy, University of Victoria, Lindsay Delaronde, Artist-in-Residence, City of Victoria, click the link below:
In this first exhibition of 2016 at the Legacy Art Gallery Downtown, art educators from the University of Victoria’s Faculty of Education present a diverse range of current work, including ceramics, digital art, sculpture, painting, drawing, photography and video.
Committed to collaboration, exchange and annual group exhibitions, these artists/educators recognize the research value of studio practice where the interdependence of teaching and creative production each inform and enhance the other. Drawing upon diverse personal and professional experiences and inspirations, the exhibition of their creative production represents an exciting array of ideas, imagery and processes.
Bridge Over Troubled Water is an interactive video and sound installation created by Victoria artist Yoko Takashima, with technical assistance in collaboration recent UVic graduate, Ruby Arnold. Takashima filmed about 40 volunteers signing the Simon and Garfunkel classic Bridge Over Troubled Water. Her manipulation of these recordings allows for the faces and voices to blend and transform over time in such a way that no identical image or performance will ever be seen. Unexpected narratives and raw human connections are forged between performer and viewer in this constantly self-generating installation.
Bridge Over Troubled Water is the second installment of IN SESSION, a series of exhibitions featuring UVic sessional instructions in the Visual Arts Department.
This is the first part of an on-going series of exhibitions over the next few years featuring the artists who work as Sessional Instructors in the UVic Visual Arts department. This exhibition looks at the recent practice of four artists who work with photography, video, and digital media arts. In Session – One celebrates the significance and power of photo-based art in an age where social media and advertising threaten to inundate and numb us with visual overload. These artists also investigate themes including the relationship between the photographic image and its physicality as an object, light as a material presence, and the time/space/memory relationship of digital media arts.
Megan Dickie, Laura Dutton, d. bradley muir, and Tara Nicholson are four excellent artists who also happen to be excellent teachers; this combination of talents is rare, and as such they represent true assets to the Department of Visual Arts at the University of Victoria. We are very fortunate to be able to hire professional artists from within the community to teach on a part-time basis. Sessional instructors enliven art departments across the country with their professional experience. They enable us to expose our students to a much wider array of professional practitioners that would be possible if teaching duties were left to full time faculty alone. Often students do not realize that many of their favourite instructors are in fact successful professional artists who leave their busy studios to come and teach a few times a week. As teachers, these artists are instrumental in shaping and preparing the next generation of artists. Their contribution in this role cannot be overstated.
Twice yearly at convocation the University of Victoria awards honorary degrees to those who have demonstrated distinguished and extraordinary achievements. During its 50-year history UVic has granted honours to seven First Nations artists who have contributed not only to the arts but also to the community at large as leaders, activists, visionaries, role models, and groundbreakers. This exhibition features works from the University of Victoria’s art collection and an excerpt from the citation that was read at the occasion of granting the degree.
par-a-dox n. 1. A statement that seems to contradict itself but may nonetheless be true.
The notion of paradox provides an apt means of curating seven divergent artists who make up the University of Victoria’s Visual Arts department. Despite their widely varying practices, they share fundamental interests in the contradictory nature of our very physical and psychic experiences in, and of, the world around us.
Paradox presents the recent work of the artists teaching in department of Visual Arts of the University of Victoria. The seven faculty members (Daniel Laskarin, Sandra Meigs, Robert Youds, Vikky Alexander, Lynda Gammon, Jennifer Stillwell, and Paul Walde) are mid-career and senior artists with national and international careers. Each artist will be represented by work characteristic of current practice relating to the theme of the paradox implicit in our experience of art.
Paradox aims to bring wider understanding to the particular strengths of this nationally acclaimed academic program, which is rooted in explorations of phenomenology and in the perceptual, conceptual, and interactive contexts of contemporary visual art.
Events:
An opening reception was held on November 1, 2013 with the seven artists and public in attendance.
On December 1, 2013 an experimental concert titled Music for Mycologists was held in support of Paradox. Paul Walde’s large mushroom spore prints (Interdeterminacy, 2012) also act as musical notation. Tina Pearson (flute, voice), George Tzanetakis (bass clarinet) and Paul Walde (bass guitar) interpreted the prints sonically and also played pieces by John Cage and Vaclav Halek.
American composer John Cage was an avid mycologist. Cage often quipped that music and mushrooms have nothing to do with one another except for the fact that they appear next to each other in the dictionary. Experimental Music Unit put this statement to the test.
February 4 to April 13, 2017
January 21 to April 1, 2017
Curator’s Talk with Guest Lecture
October 8, 2016 to January 7, 2017
