Exhibition: November 24, 2016 – January 14, 2017 (holiday closure December 10 – January 2)
Opening reception: Wednesday, November 23, 5 – 8 PM
Artist’s talk with Peter von Tiesenhausen: Thursday, November 24, 3 PM
Curator’s talk with Wil Aballe: Saturday, December 3, 2 PM
In Canada, art making concerned with landscape is unavoidably tied to the narratives of place – local and nationalist, Indigenous and non-Indigenous. The thematic of the Canadian landscape in Canadian art, say, through the viewpoint of artists such as Lawren Harris and A.Y. Jackson, is an expansive and problematic subject matter that came to communicate the character of a wildly romanticized northern environment.
Such desperately romantic ideas about what can summarily be called “the environment” (the “it” in the title) turn on a Faustian paradox: human survival requires the extraction of resources, the consequences of which threaten planetary existence. In the face of a seemingly unstoppable and increasingly injurious transformation of the world, there are related binaries between humans and nature – the tamed and the wild, the known and the unknown, and the mechanized and the untainted. These are contemplated by the contemporary works of Ruth Beer, Douglas Coupland, Beau Dick, Christos Dikeakos, Keith Doyle, Michael Drebert, Germaine Koh, Ebony Rose, Kika Thorne, and Samonie Toonoo, which reveal the narratives of human endeavour contained within landscapes, amid concerns about tipping points, ocean gyres, chlorofluorocarbons, and melting ice caps.
– Michael Prokopow, OCAD University, on the exhibition, November 2016
Artists: Anonymous nineteenth-century Haida artist, Ruth Beer, Douglas Coupland, Beau Dick, Christos Dikeakos, Keith Doyle, Michael Drebert, Lawren Harris, A.Y. Jackson, Germaine Koh, Ebony Rose, Kika Thorne, Peter von Tiesenhausen, Samonie Toonoo
Curated by Wil Aballe
Tuesday – Saturday, 12 – 4 PM
Closed holidays (please see exhibition dates above)
Audain Art Centre
6398 University Boulevard
Image: Kika Thorne, The Wildening (detail of installation), 2016
This project is made possible with support from the Audain Foundation, the Alma Mater Society, and the Department of Art History, Visual Art and Theory at the University of British Columbia.