A Temporary Stay
Brock University Department of Visual Arts Honours Exhibition
Curated by Marcie Bronson and Stuart Reid
Matt Caldwell, Ben Mosher, Kerri Oleskiw, Jillian Suta
March 28 to April 12, 2015
Opening Reception: Friday, March 27, 7 pm
Bato Bazarov, Kate Mazi, Alexandra Muresan, Nancy Nigh
April 18 to May 3, 2015
Opening Reception: Friday, April 17, 7 pm
Presented in two chapters, this exhibition displays the work of selected graduating Brock University Visual Arts students. Occupying Rodman Hall’s third floor studios during the academic year, students in the Honours Studio course are mentored by professors Duncan MacDonald and Shawn Serfas, learning how to develop a focused body of work from concept to public exhibition.
Such exhibits from the Department of Visual Arts are a key part of the Marilyn I. Walker School of Fine and Performing Arts' mandate in building connections between the community and the breadth of talent and creativity at Brock University.
The Marilyn I. Walker School of Fine and Performing Arts is relocating in the summer of 2015 to its new, state-of-the-art teaching, production and performance facility in the heart of the City of St. Catharines.
Image: Kate Mazi, OPS (Objects of a purpless society) (detail), 2015, acrylic, ink, and fabric on canvas
The Bible Project
Curated by Marcie Bronson
January 24 to May 10, 2015
Opening Reception: Thursday, January 29, 7 pm
HOT TALK: Thursday, April 9, 7 pm
In this exhibition, St. Catharines-based artist Carolyn Wren ruminates on mark-marking. Known for her large-scale drawings and relief prints that poetically conflate landscapes and the human form, Wren presents an ambitious new body of work that turns to a more personal territory in search of the sublime. In The Bible Project, she brings together the two grand narratives that have most significantly influenced her life and work by transcribing H. W. Janson’s well-known textbook, History of Art, between the lines of an oversized, early-nineteenth century three-volume Bible. The arduous task demands patience and discipline, and its repetitive nature is meditative and transcendent, akin to prayer. In this work and an associated series of woodblock prints, and drawings based on cursive writing exercises, the labour of the method becomes an art form in itself, and the final works are a record of the artist’s presence and the passage of time. Yet, that each is fundamentally about the creative process, rather than the end result, calls attention to the weight of history and tradition, and the significance of the unremarkable singular elements that comprise both.
Carolyn Wren, untitled (detail), 2013-15 , linocut on paper.
Impermanent Collections, Temporary Occupations, and Other Gatherings
Curated by Marcie Bronson
January 17 to May 10, 2015
Opening Reception: Thursday, January 29, 7 pm
Maggie Groat’s interdisciplinary practice often challenges assumptions, standards, and routines to propose new ways of thinking. In this exhibition, she reflects on the shifting territory of Rodman Hall and the surrounding area by researching the geographic, natural, and art histories of the site. Treating the exhibition period as a self-directed residency, Groat will work on site, inserting her presence into the day-to-day and exerting her systems of classification on the existing order of the gallery. Working to integrate indigenous practices, she will cull objects from the grounds, permanent collection, archives, and offices for a series of temporary installations in the Project Space, bringing into focus things that have previously existed on the margins. Both playful and hopeful, Groat’s work insightfully addresses issues of power and displacement.
Maggie Groat, Triangular Study Shelf (with glass for drinking the water of lake ontario, wire and copper dowsing rods, woven field bag, proposal for wildflower field, other found and assembled field tools) (detail), 2014, salvaged wood and hardware, tools made from salvaged materials, modified found objects. Photo: Jimmy Limit.
Please be advised that the program No Reading After the Internet scheduled for Sunday, February 8 in association with Maggie Groat: Impermanent Collections, Temporary Occupations, and Other Gatherings has been postponed. We will announce a new date for the program on our website and Facebook page.
No Reading After the Internet
Participatory discussion facilitated by cheyanne turions and Maggie Groat
No Reading After the Internet is a salon series dealing with cultural texts, which are read aloud by participants. No pre-reading or research is required. Instead, participants are invited to improvise an understanding of a text collectively. To participate in No Reading is to invoke an exuberant not-knowing.
No Reading takes its cues from artists; the texts are a means for interpreting an artist’s work, and an artist’s work is a way of understanding the text. As part of her exhibition Impermanent Collections, Temporary Occupations, and Other Gatherings, Maggie Groat will select texts from the Rodman Hall library, working with the material of the institution itself to engender a critical reflection on the shifting terrain of its existence.
cheyanne turions is an independent writer and curator, and the director of No Reading After the Internet (Toronto).
MARY ANNE BARKHOUSE
Curated by Stuart Reid
Presented by Rodman Hall Art Centre with financial support of the Government of Canada through Cultural Capitals of Canada, a program of the Department of Canadian Heritage
Continues on the grounds of Rodman Hall through September 2016
In creating this new outdoor installation for Rodman Hall, Barkhouse examines issues of sovereignty and confederacy from an indigenous ecological vantage point. As an aboriginal woman, Barkhouse is mindful of the history of conflict imprinted on this region of Ontario, particularly during this bicentennial commemoration of the War of 1812. Many of the conflicts and alliances between First Nations and settling cultures that played out two hundred years ago are still unresolved today.
Settlement incorporates sculptural elements into an artist’s garden built in the shape of a frontier house (16 x 20 feet). Last spring, the artist planted a series of border gardens of indigenous plants including corn, squash, beans and quinoa. Situated in the interior spaces of the garden are life-size bronze sculptures of a coyote and a badger, alluding to the cooperative nature of the allies involved in the 1812 conflict. Badgers and coyotes are known to be cooperative hunters in their search for small burrowing animals in the wild. Barkhouse is interested in the contentious nature of territory as is relates to struggles over land, whether between humans, amongst animals or plants.
An illustrated catalogue featuring an essay by Stuart Reid and an interview with the artist by Michelle LaVallee, Associate Curator at the MacKenzie Art Gallery, Regina, will be forthcoming in 2013. This publication is generously supported by the Canada Council for the Arts.
Barkhouse was born in Vancouver and belongs to the Nimpkish band, Kwakiutl First Nation. She graduated from the Ontario College of Art and Design in Toronto and has exhibited her work widely. A member of the Royal Canadian Academy of Arts, her recent solo exhibition entitled Boreal Baroque toured Canada.
In this audiocast, Barkhouse discusses some of her intentions behind the work: