Pilgrims review in today's Free Press!

Check this out....Alison Gillmor's review of Dominique Rey: Pilgrims in today's Winnipeg Free Press!

Artwork of the Week!

Artwork of the Week!
Week 16:

E.J. (Ted) Howorth (born 1943)
The Double Crossing
1979
Silkscreen

Originally trained as a sculptor, Ted Howorth began experimenting with silkscreen prints at the Grand Western Canadian Screen Shop in 1970. Howorth’s psychedelic images of the 1970s are characterized by flat blocks of bright, solid colour bordered with heavy black outlines. By the middle of the decade he was incorporating photographic images into his prints as can be seen in The Double Crossing, which includes a black and white picture of a rural Manitoba blizzard. The Double Crossing was produced in Paris during Howorth’s apprenticeship at Atelier Arcay and the subject of the piece reflects the artist’s interest in human-powered vehicles. At the time, American aeronautical engineer Paul MacCready had designed a human-powered aircraft called The Gossamer Albatross –a simplified rendering of it is included at the left of this work – that won the Kremer prize for successfully crossing the English Channel. At the same time, Howorth was crossing the Atlantic Ocean to begin work in France. The small figure in the centre holding a camera is fellow Winnipeg artist Don Proch. Two years earlier, Howorth had travelled to France with colleagues Proch and Bill Lobchuk for an exhibition of prints from the Grand Western Canadian Screen Shop. The title Double Crossing thus comes from the idea of two separate crossings of bodies of water – MacCready’s and Howorth’s.

Pilgrims makes cover of Uniter!

Dominique Rey's oil painting Romp is on the cover of the current issue of The Uniter, the UofW student newspaper! Look inside as well for a review of the Pilgrims exhibition by Robin Dudgeon.

Later this afternoon, you can catch Dominique speaking about the exhibition on CKUW 95.9 FM in Winnipeg. The program will air live from 5:30 - 6:00 p.m. CST.

Cinema Politica film screening

Gallery 1C03 and the UWSA are pleased to host our first film screening of the 2010-11 season as part of the international documentary screening network Cinema Politica.

Hip-Hop: Beyond Beats and Rhymes, will be shown in Eckhardt-Gramatté Hall (3rd floor, Centennial Hall) on Tuesday, September 28 at 7:00 p.m. in conjunction with Freestyle IV, a week long festival organized by the UWSA where inner city youth, community members and students are invited to learn and create in a highly structured (and artistically driven) programming environment at The University of Winnipeg.

Directed by Byron Hurt (USA, 2007), Hip-Hop: Beyond Beats and Rhymes is an in-depth look at manhood, sexism and homophobia in rap music and hip-hop culture. Hurt, former star college quarterback, longtime hip-hop fan and gender violence prevention educator, conceived the documentary as a "loving critique" of a number of disturbing trends in the world of rap music. He pays tribute to hip-hop while challenging the rap music industry to take responsibility for glamorizing destructive, deeply conservative stereotypes of manhood.

The documentary features revealing interviews about masculinity and sexism with rappers such as Mos Def, Fat Joe, Chuck D, Jadakiss and Busta Rhymes, hip-hop mogul Russell Simmons and cultural commentators such as Michael Eric Dyson and Beverly Guy-Shetfall. Hip-Hop: Beyond Beats and Rhymes is critically acclaimed for its fearless engagement with issues of race, gender violence and the corporate exploitation of youth culture.

Please stay for discussion after the film screening facilitated by Dr. Roewan Crowe of the Department of Women’s and Gender Studies and Co-Director of the Institute of Women’s and Gender Studies.

All screenings will be open to all audiences – everyone is welcome. Our screenings will always be free, but donations to offset costs are welcome.

Gallery 1C03 and the UWSA wish to thank Cinema Politica for making it possible for us to participate in this network. We are grateful to the Canada Council for the Arts for generously supporting this initiative.

Culture Days at Gallery 1C03

Gallery 1C03 is pleased to be part of Culture Days!

In conjunction with this nation-wide celebration, we will offer a FREE all ages drawing and mask-making workshop in the Gallery led by artist and art educator Tracy Woodward on Saturday, September 25. The workshop will complement Gallery 1C03 's current exhibition Dominique Rey: Pilgrims. The public can drop by any time between 1:00 and 4:00 p.m. to view the exhibition and take part in a workshop if they wish.

Image: Dominique Rey, General Infinite Love, 2008, oil on canvas, 42" x 30". Courtesy of the artist.

For more information on this event, please visit http://www.culturedays.ca/en/celebration-schedule/view/4c7fff3d-fd8c-4df2-a068-25e64c4a89be.

Hope to see you here!

Artwork of the Week!

Week 15:

Bruce Head (born 1931)
Conversation
1957
Oil on canvas

Ever since Winnipeg artist Bruce Head graduated from the School of Art at the University of Manitoba in 1953, his bold, abstract paintings, prints and sculptures have garnered attention. Like his comrades Ernest Wilson and Frank Mikuska, Head was employed for many years as a graphic designer. In fact, Head and Mikuska worked together as graphic artists for the Canadian Broadcasting Corporation. But Head’s day job did not prevent him from establishing an active career in visual art. Over the years, he received many local commissions, most notably the expansive circular sculptured concrete wall in the underground concourse at Portage and Main.

Head’s earliest commission, however, was a large mural for the Manitoba Teacher’s college in 1959. This work, titled The Seasons, is stylistically similar to the early painting Conversation. Both works demonstrate thorny enclosed shapes and sections of brilliant colour that seem to dance energetically across the surface. The dark outlines of Conversation become more dense in the middle of the canvas to suggest an encounter of meeting.

Artwork of the Week!

Artwork of the Week!
Week 14:

Eva Stubbs (born 1925)
Self-portrait with Skulls
1999
Charcoal and conté on paper

Eva Stubbs was born in Hungary. She completed a Diploma of Fine Arts from the University of Manitoba in 1957, but did not begin a regular art practice until 1974. Best known as a sculptor working both figuratively and abstractly in clay and bronze, Stubbs turns to drawing on occasion in order to create something less labour intensive and more immediate. In the somber Self-portrait with Skulls, Stubbs recalls the turbulent personal history of her formative years. She depicts a vision of her youthful self enclosed in a window-like shape, physically separated from the drawn face that she identifies as her mother, in the upper right, and the skeletons that are her ancestors, at the upper left. At the age of four, her parents left Hungary for South America, taking her older brother with them, but leaving the artist in the care of her father’s brother and his wife. Although her parents returned to Europe several years later and she lived with them for a year in Spain, Stubbs was sent back to stay with her uncle and aunt after civil war broke out. Only at the age of fourteen was she reunited with her family, this time in Tangier, where they stayed until they could secure safe passage to Canada in 1944.

Artwork of the Week!

Week 13:

Kelly Clark (1935-1995)
Untitled (Delta 1980)
1980
Watercolour and Collage

During the summers of 1978 through 1982, Kelly Clark retreated to a cottage at the marshy Delta beach on the southern shore of Lake Manitoba. This was a time for contemplation and personal introspection when Clark could escape the stress of the city; it also signaled a reprieve from the substance abuse that had consumed his life. Artistically, Clark switched gears at this time too, depicting the open vistas of the prairie landscape that surrounded him. Sometimes turbulent, at other times serene, the intimate watercolours and collages that Clark created in situ were often reworked as large acrylics on canvas during the winters spent at his Winnipeg studio. The Delta landscapes were Clark’s most commercially viable pieces; they funded his stays at the cottage and many years later he visited this theme, producing additional works in various media. Untitled (Delta 1980) is the earliest of four small paintings in the University’s collection that was created by Clark at the rural retreat.