Carleton University Art Gallery CUAG

Steve Giasson as Others / Steve Giasson comme les autres

Curated by Jean-Michel Quirion

27 January – 15 May 2021

Laura Taler: THREE SONGS

Curated by Heather Anderson

27 January – 15 May 2021

In an ambitious spatial video installation, Ottawa-based artist Laura Taler grapples with questions raised by experiences of migration: Can one learn a new language while holding onto the past? What can be translated? What cannot?

Carleton Curatorial Laboratory (CCL): Family Matters

Curated by Kendra Anderson, Patricia Berubé, Shaney Kille, Cynthia Morawski, Phoebe Sampey and Rebecca Watson

27 January – 15 May 2021

Family Matters explores the many ways that artists approach and represent ideas of connectedness, kinship, community and belonging. It brings together a compelling range of prints, drawings, photographs and paintings, dating from the mid-1800s to today, selected from CUAG’s collection. These works variously depict tender moments, document public and private spaces, index the everyday, and explore familial roles and relationships.

The artists featured in the exhibition are: Evergon, George Hawken, Suzy Lake, Jane Martin, David Neel, Leslie Reid, Michael Schreier and Jeff Thomas, as well as 19th-century photographs whose names we don’t know. Family Matters was curated by the graduate art history students enrolled in CURA 5001, a curatorial studies seminar taught by Professor Stéphane Roy.


Benny Nemerofsky Ramsay: I Don’t Know Where Paradise Is

Curated by Heather Anderson

16 September – 12 December 2020

In I Don’t Know Where Paradise Is, Benny Nemerofsky Ramsay mediates encounters with figures, knowledge and feelings from the queer past, distilled through his research in the private libraries of gay scholars and artists in Europe and Canada, with a focus on the Amsterdam home and library of Gert Hekma and Mattias Duyves.

Each visitor—whether at CUAG or remotely—is offered a listening experience via a randomized, hour-long audio composition, on a dedicated web site and mobile app. The voices of Nemerofsky and a chorus of other narrators accompany listeners through a labyrinth of books, objects, plants, characters and ideas found in these libraries.

Plans for the exhibition have shifted due to the pandemic. Each week, the Paris-based Nemerofsky will create and release online a floral sculpture that corresponds with a chapter of his audio composition. Here in Ottawa, members of the Queer community will respond in turn to the audio work, collaborating with a local florist to create a flower arrangement for CUAG.

This exhibition activates and deepens recurring elements in Nemerofsky’s practice, including touching across time and space and the activation of networks of queer kinship. These gestures, and the emotions they foster, take on additional layers of meaning in this time of physical distancing.

To Be Continued: Troubling the Queer Archive

Curated by Cara Tierney and Anna Shah Hoque

16 September – 12 December 2020

To Be Continued: Troubling the Queer Archive looks at local histories and genealogies of queerness. The exhibition showcases the work of emerging and established 2SQTIBPOC artists, countering the dominance of white queer histories. It also reflects on the moments, spaces and people that constitute the existing archive, while addressing its gaps and omissions.

To Be Continued features the work of Barry Ace, Howard Adler, Aymara Alvarado Sanchez, Pansee Atta, Rosalie Favell, Ashley Grenstone, RJ Jones, Donald Kwan, Ed Kwan AKA China Doll, Kole Peplinskie, Adrienne Row-Smith, as well as the community group Pride Is Political and the hub that is Shanghai Restaurant.

To Be Continued is amplified by a dynamic series of public discussions and events. The exhibition and public programs together generate and disseminate new artworks, new stories and new histories. For co-curators Cara Tierney and Anna Shah Hoque, as for the artists, this work is always in progress.

CUAG acknowledges with sincere gratitude the support of the Stonecroft Foundation for the Arts, which promotes education in the visual arts and fosters the public’s appreciation of the visual arts. 


02 April – 30 August 2020

Hello, friends! We miss you! And we hope you are keeping safe. While CUAG is closed, we are keen to stay connected with you and to continue amplifying the work of artists.

We’ll periodically send you a #cuagrevisit digital feature, whether video, audio, photographs, some reading, or other media.

#cuagrevisit takes another look at some of our previous exhibitions, connects with artists and cultural activists, and highlights the ways that artists offer direction, reflection and inspiration during tough times.

Not already signed up for our mailing list? Join here.

We are grateful for the support of the Reesa Greenberg Digital Initiatives Fund.

#cuagrevisit on Friday 7 August

Hello, friends! For this edition of #cuagrevisit we’re dropping in on Linda Sormin, who is based in New York City. Linda is a sculptor and installation artist who works primarily with clay. In 2018, Sormin created Fierce Passengers, an extraordinary site-responsive ceramic exhibition in CUAG’s high gallery, while in residence over the course of two weeks. 

Fierce Passengers explored uncertainty, risk and survival, and precarious and fragile structures. In this video, Sormin discusses the process of imagining and producing the exhibition, talks about her use of local Leda clay, and shares her thoughts about how we navigate upheaval and what we hold onto and long for during experiences of change.

More recently, Sormin has been making both small and large works, from a series of watercolours and ceramic sculptures (currently on view at Patricia Sweetow Gallery in San Francisco) to a long work on paper, made with watercolour. 

Linda writes of this work: “It rolls from my kitchen, down some steps, into the living room. I’m painting both sides of the paper—familiar abstract gestures collide with new imagery of an old story of my great great grandfather, a Batak shaman who confronted ruthless colonialism in Indonesia. The intimate scale of objects and life contained at home is pulled taut with the urgency and commitment to stand publicly in solidarity with Black Lives Matter.”

#cuagrevisit reflects the strength, creativity and resilience of the community, while we are “being apart, together,” as the artist Aislinn Thomas has said.

With that in mind, we invited Linda to highlight some community organizations. Here are her choices:

One Spark: Provides barrier-free opportunities for women experiencing violence to generate income through entrepreneurship.

Rainbow Railroad: Provides solutions for LGBTQI people who need immediate assistance because they are facing a serious threat to their lives and safety.

Youth Line: Offers confidential, non-judgmental LGBTTQQ2SI peer support through telephone, text and chat services.

Black Lives Matter Canada: The Canadian chapter of #BlackLivesMatter, an international organization and movement fighting police and state violence and anti-Black racism.

Thank you to Linda Sormin! The Sormin video was produced by Chris Ikonomopoulous in 2018 and incorporates photographs by Clarence Sormin and Justin Wonnacott.

#cuagrevisit on Friday 24 July

Hello, friends! We are working with Carleton University on our reopening plan and will bring you news soon. This edition of #cuagrevisit updates you on the wonderful exhibitions we had planned to present this summer. These exhibitions are: Laura Taler: THREE SONGS; Steve Giasson as Others / Steve Giasson commes les autres and Family Matters. We have rescheduled these exhibitions to winter 2021 and look forward to bringing them to you.

Laura Taler: THREE SONGS
In a series of three ambitious new video installations, Laura Taler grapples with questions raised by experiences of migration. Laura says: I am so looking forward to sharing THREE SONGS with you. Creating the works and preparing for the exhibition has been truly transformative. Most simply, I learned to sing! Rediscovering my voice, both literally and metaphorically, has shown me how much is possible when you are surrounded by kindness and generosity.

Steve Giasson as Others / Steve Giasson commes les autres
Steve Giasson’s conceptual work builds on pre-existing artworks, appropriating them in order to undermine his position as author. Selon Steve: Je vois l’art comme une « activité dialogique ». Si on peut considérer une exposition comme une mise en scène, la galerie d’art de l’Université Carleton (CUAG) en sera la scène. Cette exposition soulève les questions « À quoi je joue? » et « Quelle comédie jouons-nous? ». J’ai hâte d’entamer ce dialogue avec vous.  Steve says: I call art a “dialogical activity.” If an exhibition can be a “mise-en-scène,” then the gallery will be its stage. With this exhibition, I will reflect on the comedy that I’m acting out, and the comedy that we will be acting in together. I look forward to having this dialogue with you.

Family Matters
This exhibition explores the many ways that artists approach and represent ideas of connectedness, kinship, community and belonging. It features the work of Evergon, George Hawken, Suzy Lake, Jane Martin, David Neel, Leslie Reid, Michael Schreier and Jeff Thomas, as well as unknown 19th-century photographers, all selected from CUAG’s collection. It is curated by students enrolled this past winter in a Curatorial Studies graduate seminar at Carleton University, taught by Professor Stéphane Roy.

#cuagrevisit on Thursday 9 July

Hello, friends! This edition of #cuagrevisit connects with artists and cultural activists in the Ottawa-Gatineau community. We’re introducing a summer series called #ProjectsandPastimes, hosted on CUAG’s Instagram.

#ProjectsandPastimes profiles Ottawa-Gatineau creative folks that CUAG has worked with on past public programs. Their days and artistic practices have shifted during this time. We asked them to send us news of projects they’ve worked on recently at home, or in the past, with collaborators. We’re excited to share their updates with you!

You can find #ProjectsandPastimes in the highlights of our Instagram profile. There, you’ll see updates from Matt Miwa, a theatre, video and performance artist, and Elsa Mirzaei, the founder and producer of DIY Spring, a futurist music festival. The most recent edition follows filmmaker and artist Howard Adler, who is working on longterm projects and rethinking how friends and communities gather in digital spaces.

Follow the series on @CUArtGallery. There are more editions to come!

#cuagrevisit on Friday 25 June

Hello, friends! We’re dropping in on Gatineau-based artist Annie Thibault this week for #cuagrevisit.

In preparation for her fall 2017 solo exhibition, La chambre des cultures, foraging in time and space, Annie Thibault was artist-in-residence at Carleton’s biology department for one year. With the generous collaboration of Dr. Myron Smith, a biology professor, Annie cultivated Armillaria gallica (honey mushrooms), working with the fungi as living organisms and as artistic agents.  

This video shows Annie using the lab as a site for experimentation, underscoring affinities between creative and research in scientific and artistic processes and crossing the boundaries separating art and science. 

Annie is now in the research phase of a new project, Les Radieuses, which explores how fungi function in an environmental disaster event. As she says, “Véritables emblèmes de résilience, ils participent à la bioremédiation de l’environnement, à la décomposition et à la régénération des sols.”

#cuagrevisit reflects the strength, creativity and resilience of the community, while we are “being apart, together,” as the artist Aislinn Thomas has said. With that in mind, we invited Annie to highlight some community organizations. Here are her choices:

AXENÉO7: An artist-run centre in Gatineau dedicating to advocating, promoting and exhibiting the visual arts, while developing critical discourse around them.

DAÏMŌN: An artist run-centre in Gatineau that supports research-creation, production and dissemination of media arts.

Thank you to Annie Thibault! The video was produced by Phil Rose in 2017. Annie’s residency was supported by the Department of Biology at Carleton University, le Conseil des arts et des lettres du Québec and la région de l’Outaouais.

#cuagrevisit on Friday 12 June

Hello, friends! For this sixth edition of #cuagrevisit, we invited Kwende Kefentse (DJ Memetic) to create a response to They Forgot That We Were Seeds.

Curated by Kosisochukwu Nnebe, They Forgot That We Were Seeds uses foodways to reimagine the history of Canada as a settler-colonial state, placing Black and Indigenous women artists at the centre of efforts to construct a counter-archive. It features the work of artists KC Adams, Deanna Bowen, Roxana Farrell, Bushra Junaid, Amy Malbeuf, Meryl McMaster, Cheyenne Sundance and Katherine Takpannie.

In the video response, Kwende spins 45s from his parents’ record collection. We invite you to watch the video and read this text by Kwende. 

Kwende writes: “They say that for a plant to grow, you need water, sun, soil and seed. The island known as Barbados was blessed with all these things in abundance. Unfortunately, once the British realised this, they did what colonisers do and, through the slave trade, established a rapacious and exploitative sugar industry that fuelled their empire.

Somewhere back there is where the journey of my genes on this side of the world begins. My parents are both from Barbados—born and raised. As were their parents. You don’t have to go much further back to see my ancestors in artist Bushra Junaid’s lightbox works, Sweet Childhood and Two Pretty Girls.

The sugar that my ancestors’ hands harvested has created a connection between my roots in Barbados and the place I would eventually be born in Canada, when the original people of this place were displaced and given rations of sugar as part of their new lives. This material and metaphorical connection through colonialism is something that made intuitive sense, but Kosisochukwu Nnebe’s They Forgot That We Were Seeds gave me the opportunity to fully reflect on that connection as a first generation Canadian. Thanks to Kosi for remembering and reminding.

The music I present here in response is meant to honour the generation that made this connection more than a metaphor, and actually immigrated to unfamiliar and often hostile places to make a new way. To plant Caribbean seeds in Canadian soil. These are some of the records that my late father brought with him from Barbados as he made a new life and identity here in Canada with my mom. These material pieces of culture—and the intangible but palpable vibes they embody—connected where my parents were going and where they came from. The records trace the root back to the seed.”

#cuagrevisit reflects the diversity, strength, creativity and resilience of the community, while we are “being apart, together,” as the artist Aislinn Thomas has said. With that in mind, we invited Kwende to highlight some community organizations. Here are his choices:

Justice for Abdirahman: An Ottawa-based coalition whose objective is to obtain greater transparency, challenge racial inequity, and bring positive change in order to secure justice for the late Abdirahman Abdi and his family. 

Produced by Youth: A grassroots organization launching a music production workshop for Black youth in Ottawa dedicated to creating a safe space to explore creativity and collaboration, and build confidence.

Thank you to Kwende Kefentse! He is a multimedia producer, Cultural Industries Development Officer at the City of Ottawa, and a member of CUAG’s Advisory Board. He co-founded TIMEKODE and DJs as Memetic.

#cuagrevisit on Thursday 28 May

For this fifth edition of #cuagrevisit, we’re celebrating the recent release of Kinàmàgawin (Learning Together), the final report of Carleton University’s Strategic Indigenous Initiatives Committee. Kinàmàgawin features 41 Carleton-specific Calls to Action, unified by the goal of making the campus a safer space for current and future Indigenous students, staff and faculty.  

Kinàmàgawin opens with beautiful words by Barbara Dumont-Hill, a Knowledge Keeper from Kitigan Zibi Anishinabeg. “We are all connected,” she writes, “and when we can learn together with open minds and open hearts, the outlook will be brighter.” 

In 2017, a group of Carleton University students learned how to make a wigwàs chiman (birchbark canoe) together, under the guidance of Daniel “Pinock” Smith, an artist and canoe builder, and Paul “Mini” Stevens, from Kitigan Zibi Anishinabeg. This was a project of the Centre for Indigenous Initiatives and CUAG.

The canoe was built at CUAG, tested on Lac Bitobi at Kitigan Zibi and later installed in MacOdrum Library. Its installation on campus highlights the forms of collaborative learning that have existed on this territory, long before Carleton was founded.

Here is a short time-lapse video of the canoe-building process.

In an eloquent article about the experience of helping to build the canoe, Alexandra Kahsenni:io Nahwegahbow wrote: “Beyond what we learned to create with our hands, this work offered us lessons in humility, patience and the value of multiple forms of knowledge.” 

CUAG looks forward to supporting Kinàmàgawin and its powerful Calls to Action, and to creating opportunities to learn together.

#cuagrevisit on Thursday 14 May

In 2017, to celebrate the gallery’s 25th anniversary and Carleton University’s 75th anniversary, we commissioned a series of pop-up performances by Jesse Stewart, an award-winning musician, sound artist, community builder and Carleton music professor.  

For his “Turning the Tables” performance at CUAG, Jesse set up multiple record players converted into kinetic sound sculptures. Visitors interacted with the installation, changing the volume and speed of each turntable in a co-creative improvisatory musical performance. 

Check out the video of Jesse’s performance, produced by Hasi Eldib.

Jesse recently embarked on a daily video series, posting his performances on Facebook. He explored a variety of unusual percussion instruments and musical found objects, including seashells, canoe paddles, a cardboard box and kitchen paraphernalia.

As Jesse says, “I have connected with musicians, music educators and artist from all over the world. This experience has reminded me of the power of the arts to facilitate friendship and foster community, something we need now more than ever.”

#cuagrevisit reflects the diversity, strength, creativity and resilience of the community, while we are “being apart, together,” as the artist Aislinn Thomas has said. With that in mind, we invited Jesse to highlight some community organizations. Here are his choices:

Propeller Dance: A contemporary integrated dance company that celebrates diverse minds and bodies.

Artengine: An organization that presents, promotes and supports technologically-based artistic creation.

Thank you to Jesse Stewart and Hasi Eldib. The video was produced by Hasi Eldib, and generously supported by Carleton University, the Ontario Arts Council and the Canada Council for the Arts. 

#cuagrevisit on Thursday 30 April

This week, we’ll revisit a work by Émilie Monnet, commissioned for the winter 2019 exhibition Re: Working Together / Re : Travailler ensemble, co-produced with and co-presented at Galerie UQO. Émilie created an audio work centred on the Kichi Sibi (Ottawa River) in collaboration with Pinock Smith, a renowned canoe maker from Kitigan Zibi Anishinabeg.

Ninóswáhadón Sibi (I follow the river) weaves together conversations between Émilie and Pinock, as well as her field recordings from the Kichi Sibi. 

Émilie sent us an update on a recent performance she co-produced with Waira Nina, an Inga sound artist and her longtime collaborator. The performance took place at the Universidad Nacional de Colombia in Bogota on 18 February 2020.

Produced from the intersection of sound installation, performance art and documentary theatre, NigamOnTunai gives voice to women’s roles in the protection of water, in response to ongoing natural resource extraction on Turtle Island and the Amazon in Colombia. In “Resonant Signals,” a recent article in Canadian Art, Joni Low reflects on Émilie’s work, and on NigamOnTunai

#cuagrevisit reflects the diversity, strength, creativity and resilience of the community, while we are “being apart, together,” as the artist Aislinn Thomas has said. With that in mind, we invited Émilie to highlight some community organizations. Here are her choices:

Minwaashin Lodge: Serves First Nations, Inuit and Métis women and children in Ottawa.

Projets autochtones du Québec: Serves First Nations, Inuit and Métis people who are homeless or in situations of difficulty.

Thank you to Émilie Monnet. Ninóswáhádon Sibi (I follow the river) was commissioned by CUAG and GUQO in partnership with DAÏMÔN and Transistor Media, with support from Carleton University, Université du Québec en Outaouais, Canada Council for the Arts, Ontario Arts Council, and the Reesa Greenberg Digital Initiatives Fund. Sound editing and mixing by Pascal Desjardins. 

#cuagrevisit on Thursday 16 April

This week, we revisit a video about the artist Norman Takeuchi, who moved from Vancouver to Ottawa in 1963.

Norman speaks eloquently about his installation work, A Measured Act (2006), which was featured in Sites of Memory: Legacies of the Japanese Canadian Internment. This exhibition was curated by Emily Putnam and presented at CUAG in the autumn of 2019.

In the video, Norman talks about the internment of Japanese Canadians during World War II, and reflects on that history and its influence on his work as an artist, in the present.

Right now, Norman is spending his days in the studio, where, he says, “My scrutiny of the Japanese Canadian theme continues to evolve. It’s early days for this new approach but it looks promising.”

#cuagrevisit reflects the diversity, strength, creativity and resilience of the community, while we are “being apart, together,” as the artist Aislinn Thomas has said. With that in mind, we invited Norman to highlight some community organizations. Here are his choices:

Community Foundation of Ottawa: The COVID-19 Rapid Response Fund supports urgent issues, particularly those being experienced disproportionately within vulnerable sectors.

Ottawa Food Bank: Provides fresh and non-perishable food, and such items as diapers, toiletries and cleaning supplies, to its network of over 100 emergency food programs in Ottawa.

National Arts Centre: #CanadaPerforms is a $700,000 short-term relief fund that pays professional Canadian artists and professionally published authors for their online performances.

Thank you to Norman Takeuchi, interviewer Katie Lydiatt and videographer Chris Ikonomopoulos. The video was produced with the generous support of the Reesa Greenberg Digital Initiatives Fund, Carleton University, the Ontario Arts Council and the Canada Council for the Arts.

#cuagrevisit on Friday 3 April

The Brooklyn-based artist Shannon Finnegan makes work about disability culture and access. In February, Shannon created an audio tour of her exhibition, Lone Proponent of Wall-to-Wall Carpet.

The audio tour is a non-visual option for experiencing and revisiting Shannon’s exhibition. It also provides an opportunity to reflect on how Shannon envisions embedding care within communities. Aislinn Thomas explores similar themes in a recent Akimblog article, “Disability, Creativity, and Care in the Time of COVID-19.”

We invite you to listen to Shannon’s audio tour (with or without the installation photographs) and read Aislinn Thomas’s article. These artists encourage us to imagine and enact ways of working and being together.

We hope that #cuagrevisit reflects the diversity, strength, creativity and resiliency of the community, while we are “being apart, together,” as Aislinn Thomas has said.

With that in mind, here are some community organizations that are doing vital advocacy and capacity-building work in accessibility.

AMI Accessible Media Inc.: This media organization believes in an inclusive society in which media is accessible to all Canadians.

Welcome to My World: This CKCU radio show aims to change the conversation and views about disability. Hosted by Kim Kilpatrick and Shelley Ann Morris and Daniel Bourret.

BEING Studio: This Ottawa studio supports artists with developmental disabilities who work in visual art and creative writing.

Thank you to Shannon Finnegan. We are grateful for the support of the Reesa Greenberg Digital Initiatives Fund.

Shannon Finnegan: Lone Proponent of Wall-to-Wall Carpet

Curated by Heather Anderson and Fiona Wright

09 February – 31 July 2020

Through drawing, installation, alt-text, performative events and workshops, Shannon Finnegan makes work about disability culture and access, specifically for disabled audiences. As she describes, her work and reflects the humour, vibrance and nuance of such communities. Finnegan’s practice also calls attention to ableism, seeking to destabilize it through humour and subtle interventions.

The Brooklyn-based artist’s exhibition Lone Proponent of Wall-To-Wall Carpet follows on her Disruptions Series lecture “A Completely Customized World Where Everything Is Just How I Like and Need It” and features drawings from portrait series, a portable mural series and customized benches along with other elements that seek to make the gallery a more welcoming and comfortable space for experiences with art.


Listen to an audio tour of the exhibition narrated by Shannon Finnegan and Fiona Wright, here.

They Forgot That We Were Seeds

Curated by Kosisochukwu Nnebe

09 February – 31 July 2020

Featuring the work of KC Adams, Deanna Bowen, Roxana Farrell, Bushra Junaid, Amy Malbeuf, Meryl McMaster, Cheyenne Sundance and Katherine Takpannie, They Forgot That We Were Seeds uses foodways, as curator Kosisochukwu Nnebe writes, to re-imagine the history of Canada as a settler-colonial state, placing Black and Indigenous women at the centre of an effort to construct a counter-archive.

Sugar, salt and cod take on layered meanings as the histories of labour, displacement and adaptation they contain are excavated. Touching on issues of land, migration, and food justice and sovereignty, the exhibition offers a glimpse into decolonial and sustainable futurities rooted in Indigenous worldviews; here, Black and Indigenous women are more than just the seeds that history has tried to bury—they represent deep roots and a harvest more plentiful than we could ever imagine.


Listen to an audio tour of this exhibition narrated by Fiona Wright, here.

The 5th Carleton Community Art Exhibition

17 January – 26 January 2020

Join us in celebrating the fifth edition of the Carleton Community Art Exhibition featuring art made by Carleton students, staff, faculty, alumni and retirees. The exhibition presents a diverse and exciting range of art including painting, photography, sculpture, textile arts, drawings and prints. Join CUAG in saluting campus creativity! Details on how to participate can be found here.

Sites of Memory: Legacies of the Japanese Canadian Internment

Curated by Emily Putnam

15 September 2019 – 26 January 2020

Sites of Memory: Legacies of the Japanese Canadian Internment features the work of three artists of Japanese Canadian ancestry: Norman Takeuchi (Ottawa), Emma Nishimura (Toronto) and Cindy Mochizuki (Vancouver). Their works collectively propose artmaking as a means of addressing the Canadian government’s internment of Japanese Canadians during World War II. Drawing on documentary records, Takeuchi, Nishimura and Mochizuki negotiate the complexity of reflecting on this traumatic history while articulating a delicate balance between remembering and forgetting.

Inheriting Redress: The Ottawa Japanese Community Association Archive

Curated by Emily Putnam and Rebecca Dolgoy in partnership with the Ottawa Japanese Community Association

15 September 2019 – 26 January 2020

On September 22, 1988, the Government of Canada formally acknowledged and paid symbolic individual redress payments for the dispossession and internment of thousands of Japanese Canadians during World War II. Inheriting Redress brings together archival documents, memorabilia, photographs and other objects held by the Ottawa Japanese Community Association and individual community members who were active in the redress campaign in the 1980s. These objects illuminate a period of community activism and invite reflection on its legacy.

Emily, Rebecca and CUAG thank Sachiko Okuda, Matt Miwa, Melisa Kamibayashi-Staples, Alex Okuda-Rayfuse, and Gabriele Nishiguchi for their invaluable work on this project.

Olivia Johnston: Saints and Madonnas

Curated by Heather Anderson

15 September – 08 December 2019

In this new series of photographic portraits, Olivia Johnston invited peers to pose as Christian saints and Madonnas, as well as other biblical figures. As an artist with a secular upbringing, Johnston has been investigating the influence of Christianity within the visual language of Western art and wider culture. Exploring the collection as CUAG’s fifth artist in the Collection Invitational series, the Ottawa-based artist has selected artworks that depict or reference Madonnas, as well as works that contain symbols or narratives associated with saints that are brought into conversation with her own works.

Rah: SuperNova

Curated by Heather Anderson

15 September – 08 December 2019

The video installation SuperNova presents a parody of a futuristic talent show. The artist performs the role of seven characters, including Oreo, Fatimeh, and Coco, whose entries in the talent show examine issues of race and ethnic performance. Set in an intergalactic realm, SuperNova also explores “ethno-futurism” and challenges the euro-centric cultural gaze that represents eastern subjects as stagnant and frozen in time.

At the National Arts Centre: Breaking Ground / Diesing / Kalvak / Kigusiuq / Letendre

Curated by Danielle Printup and Krista Ulujuk Zawadski

12 September – 08 November 2019

First Nations, Inuit and Métis women have always been at the forefront at preserving and advancing Indigenous artistic expression. From their homes, communities and studios, and in galleries, museums and cultural centres, they create and shape the cultural memory and heritage of Turtle Island.

In conjunction with the Indigenous Theatre’s inaugural season at the National Arts Centre and its premiere Indigenous Arts festival, Mòshkamo Indigenous Arts Festival, CUAG is honoured to present the work of four groundbreaking Indigenous women artists: Helen Kalvak (1901-1984), Freda Diesing (1925-2002), Janet Kigusiuq (1926-2005) and Rita Letendre (b. 1928). Focused solo exhibitions installed throughout the NAC will shine a spotlight on the extraordinary talent, inventiveness and dynamism of these artists, who have made remarkable contributions to the cultural landscape of this nation.

The exhibitions feature drawings and prints selected from CUAG’s collection. Danielle Printup is curating the exhibitions featuring Freda Diesing and Rita Letendre, while Krista Ulujuk Zawadski is curating the exhibitions featuring Janet Kigusiuq and Helen Kalvak.

Marlene Creates: Places, Paths, and Pauses

Curated by Susan Gibson Garvey and Andrea Kunard

Organized by the Beaverbrook Art Gallery in partnership with the Dalhousie Art Gallery, with generous support from the Museums Assistance Program of Canadian Heritage and from the Canada Council for the Arts.

21 May – 25 August 2019

This retrospective exhibition presents the works of leading Newfoundland-based environmental artist and poet Marlene Creates, offering visitors a comprehensive and immersive experience of nearly four decades of her unique activities. Internationally known for her work in photography, mixed media assemblages and (more recently) prizewinning videos and poetry, Creates explores the complex and layered relationships between people and the natural world they inhabit. Although her work has taken her across the country and around the world, her projects since the mid-1980s have focused mainly on Canadian lands and peoples.  
The natural environment and the land itself have long been central to Canadian art, but Creates‘ work holds a unique place within the landscape genre. From her earliest ephemeral gestures in the land to her immersion in the boreal forest that surrounds her home in Newfoundland, Creates’ projects have explored the idea of place—not simply as a geographical location but as a process that involves memory, multiple narratives, physical imprinting, ecology and language. Central to her practice is her use of photography, as a documentary medium and means to call into question the status of art and the art object. In Creates’ work, photography as a present reality (not simply a past record) can also link the viewer performatively with the processes of the natural world.
An illustrated catalogue published in English and French editions by Goose Lane Editions accompanies the exhibition. The catalogue includes essays by Robert Macfarlane, Joan Schwartz, Andrea Kunard and Susan Gibson Garvey. Additional texts include a poem and commentary by poet Don Mckay and Marlene Creates’ reflections on her work. 

Carleton Curatorial Laboratory (CCL) / On Location: Human Interventions in the Landscape

Curated by Amira Ashraf, Tera Bruinsma, Maggie Bryan, Amanda Buessecker, Emilie Hill-Smith, Anna Kim, Jessa Laframboise, Katie Lydiatt, Elizabeth Stewart and Ginny Stovel

21 May – 25 August 2019

On Location: Human Interventions in the Landscape features work by Lorraine Gilbert, Stephen Livick and John Pfahl drawn from CUAG’s collection. The images reflect the artists’ exploration of specific sites and engagement with the genre of landscape photography.
The photographs of Gilbert, Livick and Pfahl, like the larger bodies of work from which they are drawn, also document individual encounters with how processes of resource extraction and the infrastructure of the built environment impact the natural world. Yet the images are neither straightforward critiques nor calls to action. As Pfahl writes, citing photography historian Estelle Jussim, “it is almost impossible for a single photograph to state both the problem and the solution.”
Landscape as a genre and as an understanding of nature as separate from humans is a Western construct. The development of landscape photography in North America as a mode of reportage and expression coincided with settler-colonial territorial expansion. Early photographs that often portrayed vast, seemingly unoccupied, expanses of land contributed to shaping the belief that such lands were available for occupation and exploitation, in the name of colonial “progress.”

Alert to the historical and ideological dimensions of landscape photography, Gilbert, Livick and Pfahl produced these images during an era of growing environmental awareness. Working “on location” and in direct relationship to specific sites, the resulting photographs embody the artists’ diverse experiences.

In the MacOdrum Library: Christi Belcourt and Isaac Murdoch: Encouraging Action

Curated by Danielle Printup

01 February – 28 February 2019

This exhibition presents a selection of banners featuring designs created by the Metis artist Christi Belcourt and the Ojibway artist Isaac Murdoch. Belcourt and Murdoch work collaboratively, using their artistic practices to support social, environmental and political movements. These banners are an extension of their land-based advocacy efforts.

The banners were created by Carleton University students, staff and faculty, as well as members of the civic community, during a free, public art build hosted by Carleton University Art Gallery and held in Fenn Lounge on January 22nd.

Carleton Curatorial Laboratory (CCL): My Mom, kahntinetha Horn, the “Military Mohawk Princess”

Curated by Kahente Horn-Miller

21 January – 28 April 2019

The public life of kahntinetha Horn has largely been shaped by the camera lens and reporters’ pens. In the early 1960s, she modeled fashion for print magazines and then the runway in Montreal, Toronto and New York City, garnering attention as a rare Indigenous face in an industry dominated by whiteness. She turned this early attention into an activism fuelled years earlier by the destruction of her grandparents’ home on the Caughnawaga Indian Reserve, after the expropriation of their land for the St. Lawrence Seaway. She became the Indian Princess in the Indigenous and Canadian imaginations. She just might be one of the first modern-day Indigenous celebrities. This exhibition is a snapshot of the years my mother spent in the eye of the storm, as an Indigenous celebrity and activist in the 1960s. What kind of Indian spoke out? Said anything? Was heard, no less? Especially a woman.

UPRISING: THE POWER OF MOTHER EARTH — Christi Belcourt — A Retrospective with Isaac Murdoch

Curated by Nadia Kurd

21 January – 28 April 2019

A National Touring Exhibition co-produced by Thunder Bay Art Gallery and CUAG

Over the last two decades, the renowned Michif (Métis) artist Christi Belcourt has developed a holistic social practice combining art and activism. This is the first retrospective of Belcourt’s work. It traces her practice from its beginnings, in the early 1990s, to the present, and concludes with recent works made collaboratively with Isaac Murdoch, an Anishinaabe knowledge keeper and emerging visual artist.

The exhibition is comprised of more than thirty major Belcourt paintings, loaned by numerous private collectors and by such public institutions as the National Gallery of Canada, Wabano Centre for Aboriginal Health, Art Gallery of Ontario, Canadian Museum of History, Thunder Bay Art Gallery, and Crown-Indigenous Relations and Northern Affairs Canada. It also includes Murdoch’s iconic images, such as Thunderbird Woman, which feature prominently on the front lines of the resistance movement against resource extraction.

Since forming the Onaman Collective with Erin Konsmo and Isaac Murdoch in 2014, Belcourt’s advocacy work has intensified. She shares with Murdoch what she describes as the most important professional and creative partnership of her life. At their community-based art events, Belcourt and Murdoch mobilize and motivate people to get informed, to care, to take action. UPRISING: THE POWER OF MOTHER EARTH is a touring retrospective that brings Christi Belcourt’s and Isaac Murdoch’s shared vision to audiences across Canada.

Re: Working Together / Re: Travailler ensemble

Curated by Heather Anderson and Marie-Hélène Leblanc

21 January – 28 April 2019

Co-produced by GUQO and CUAG, with the support of the Reesa Greenberg Digital Initiatives Fund, the Stonecroft Foundation for the Arts, Daïmōn and Transistor Média
Collaboration has long been integral to art practice, but over the past two decades it has become the focus of deeper, more self-reflexive attention across wide-ranging artistic and curatorial practices. In her text “The Collaborative Turn,” Maria Lind observes that the art world’s embrace of collaboration is “intertwined with other contemporary notions concerning what it means to ‘come together’, ‘be together’ and ‘work together’.”

Concurrent exhibitions at GUQO and CUAG explore various facets of collaboration in art practice, including the relationship between the individual and the collective; intergenerational collaboration and knowledge-making; kids as artistic producers and as audiences; and the potential of collaboration to transform institutions and structures. GUQO presents works by Emmanuelle Léonard, Ahmet Öğüt and Redmond Entwistle, while a concurrent exhibition at CUAG features works by Hannah Jickling and Helen Reed, Mikhail Karikis and Kim Waldron. A commissioned work by Émilie Monnet spans both galleries.

As part of their exploration of collaboration in artistic practice, co-curators Marie-Hélène Leblanc and Heather Anderson are thinking about their ways of working at multiple levels, including collaborative authorship and collaboration between and within small-sized institutions. Re: Working Together / Re: Travailler ensemble took shape as an inter-institutional curatorial experiment that includes practical implications such as working across languages and sharing resources.


A free PDF publication of the exhibition, featuring texts by curators Heather Anderson and Marie-Hélène Leblanc.

A free podcast series featuring artists Émilie Monnet, Kim Waldron, Emmanuelle Léonard, Mikhail Karikis, Redmond Entwistle and Hannah Jickling and Helen Reed, and curators Heather Anderson and Marie-Hélène Leblanc. The podcasts are produced in partnership with Transistor Média, with the support of the Reesa Greenberg Digital Initiatives Fund.

Alootook Ipellie: Nuna and Vut (at the Manx Pub, 370 Elgin Street, Ottawa)

Curated by Danielle Printup

30 September – 04 November 2018

This exhibition features a selection of Alootook Ipellie’s original drawings for the serial comic strip Nuna and Vut. Ipellie (1951-2007) drew the cartoon strip for the Eastern Arctic newspaper Nunatsiaq News between 1994 and 1997.

Nuna and Vut follows the antics and adventures of two Inuit brothers in the years preceding the signing of the Nunavut Land Claims Agreement, which led to the creation of the territory in 1999. During this period, Nunatsiaq News covered the political debates between the North and the South regarding the formation of Nunavut and the separation from the Northwest Territories, including the drawing of boundaries and the division of land and resources. Ipellie’s lighthearted series contributed fresh perspectives to those debates.

The Manx presented an important solo exhibition of Ipellie’s drawings for his groundbreaking book Arctic Dreams and Nightmares in 1993, and after the artist’s death in 2007, hosted a memorial in his honour. The Manx exhibition is organized to accompany the major retrospective exhibition of Ipellie’s work at CUAG, Alootook Ipellie: Walking Both Sides of an Invisible Border.

Admission is free and everyone is welcome! The Manx Pub is located at 370 Elgin Street in Ottawa, at the corner of Elgin and Frank. CUAG thanks Marisa Gallemit and David O’Meara for their invaluable work on this project.

Alootook Ipellie: Walking Both Sides of an Invisible Border

Curated by Sandra Dyck, Heather Igloliorte, Christine Lalonde

17 September – 09 December 2018

Alootook Ipellie (1951-2007) was born at Nuvuqquq on Baffin Island and grew up in Iqaluit before moving to Ottawa as a young man. He started working as a translator, illustrator and reporter for Inuit Monthly (renamed Inuit Today) in the early 1970s, and later was its editor. Through his widely read poems, articles and essays, Ipellie gave voice to important cultural, political and social issues affecting Inuit Nunangat, with humour and immense patience. Ipellie was a prodigious artist, creating hundreds of political cartoons, serial comic strips including “Ice Box” and “Nuna and Vut,” and larger drawings, of which those published in his book Arctic Dreams and Nightmares (1993) are well known. This first retrospective of Alootook Ipellie’s extraordinary work draws from the many aspects of his career, demonstrating the importance and continued relevance of his voice and vision.

CUAG acknowledges with gratitude the many lenders whose generosity has made Walking Both Sides of an Invisible Border possible. The organizational lenders are: Richard F. Brush Gallery at St. Lawrence University, Canada Council Art Bank, Cape Breton University Art Gallery, the Government of Saskatchewan, Inuit Tapiriit Kanatami, Nortext Publishing Corporation and Nunavut Tunngavik Incorporated. The individual lenders are: Annalise and Kurt Biedermann, Ernie and Sandy Bies, Victoria Freeman, Charles R. J. Gardner, E. Gedalof and S. Davies, C. Hunt and R. Goldsworth, Lynn Jamieson and the late Geoffrey S. Lester, Marjorie and Michael P.J. Kennedy, Joyce MacPhee, Fred and Gardiea Maiczan, Senator Dennis Patterson, and Kirk Reid, as well as others who wish to remain anonymous.

Alootook Ipellie: Walking Both Sides of an Invisible Border is an internationally touring retrospective. After its presentation at CUAG, the exhibition will be presented at Richard F. Brush Art Gallery, St. Lawrence University, Canton, NY (winter 2019); Nunatta Sunakkutaangit Museum, Iqaluit (spring 2019); Art Gallery of Hamilton (fall 2019); and Gallery 1C03, University of Winnipeg (spring 2020).

Here Be Dragons / Attention, dragons!

Curated by Emily Falvey

17 September – 09 December 2018

Gisele Amantea, Sonny Assu, Rebecca Belmore, Scott Benesiinaabandan, Laurent Craste, Juan Ortiz-Apuy, Sayeh Sarfaraz
Although contemporary art is often synonymous with social critique, the recent rise of right-wing populism has led some artists to abandon subtler critical forms, such as word play and irony, in favour of more pointed strategies of resistance and protest art. While such approaches play an important role in the fight for social justice, their practitioners are sometimes criticized for perpetuating a relationship of mastery vis-à-vis their audiences.
Does critical art risk positioning viewers as the passive recipients of prescribed messages? Can art cut through ideologies to reveal urgent political truths?
The exhibition Here Be Dragons will explore these questions through the work of seven contemporary artists who participate in social critique. Rather than attempting to instruct or persuade, they favour ambiguous or symbolic images that leave room for varying interpretations.

Attention, dragons!
Organisée par Emily Falvey
17 septembre au 9 décembre

Gisele Amantea, Sonny Assu, Rebecca Belmore, Scott Benesiinaabandan, Laurent Craste, Juan Ortiz-Apuy, Sayeh Sarfaraz

Bien que l’art contemporain soit souvent synonyme de critique sociale, la montée récente des formes de populisme de droite a poussé maints artistes à renoncer à des formes critiques plus subtiles, telles que les jeux de mots, l’ironie et le détournement, au profit des stratégies artistiques plus agressives que sont la résistance et l’art activiste et contestataire. Si personne ne nie le rôle crucial de telles stratégies dans le combat pour la justice sociale, les artistes se sont fait reprocher aussi de perpétuer une relation de domination à l’égard de leurs publics.

L’art critique va-t-il au-delà des spéculations fantaisistes pour révéler des vérités politiques urgentes ? Ou maintient-il un paradigme intellectuel répressif dans lequel le public est considéré comme ignorant et en mal d’éducation ?

L’exposition Here Be Dragons (Attention, dragons!) explorera ces questions à travers l’œuvre de sept artistes contemporains qui contribuent à la critique sociale sans céder entièrement au didactisme. Plutôt que de tenter d’instruire en éclaircissant, ces artistes privilégient les images ambiguës ou symboliques qui laissent place à diverses interprétations.

Emily Falvey et la Galerie de l’Université Carleton remercient le Conseil des arts et des lettres du Québec de son appui financier. 

Emily Falvey and Carleton University Art Gallery gratefully acknowledge the financial support of the Conseil des arts et des lettres du Québec. 



In Dialogue

Curated by John G. Hampton

Co-presented with the Art Gallery of Southwestern Manitoba and Art Museum at the University of Toronto

14 May – 26 August 2018

Raymond Boisjoly, Raven Davis, David Garneau, Carola Grahn, Tanya Lukin Linklater, Amy Malbeuf, Peter Morin, Nadia Myre, Native Art Department International (Maria Hupfield and Jason Lujan), Krista Belle Stewart, Nicole Kelly Westman

In Dialogue is an exhibition structured as a conversation. It features the work of twelve First Nations, Métis and Sami artists. As the exhibition’s organizer, John G. Hampton, says, this gathering of work embraces the “tumble of connections and contradictions that constitute contemporary Indigenous identities.” Hampton hopes to generate dialogue that will undermine monolithic and uncomplicated understandings of Indigeneity by offering multiple perspectives and by creating spaces for new understandings to arise.

The artists featured in In Dialogue invite visitors into discussions that explore what it means to be Indigenous today. David Garneau’s paintings about conversations, although devoid of bodies and words, evoke the animated debates that take place in Indigenous professional spaces, without co-opting the voices being referenced. Peter Morin’s map of Tahltan territory, displayed with an architectural plan of CUAG, connects the physical structure of the gallery to his homeland through his presence and intention. Native Art Department International addresses intergenerational dialogues about art history, collage and the market through its repurposing of a Carl Beam print into an institutionalized neon sign. Nadia Myre’s installation features a recording of a conversation she had with friends about the impact of Canada’s assimilationist policies.

Like a conversation, In Dialogue moves from spaces of contemplation to moments of excitement and animation. As Hampton has said, the exhibition “allows for (and indeed is strengthened by) contradiction and contention within respectful and reciprocal exchanges.”

A PDF catalogue is available for download:

Carleton Curatorial Laboratory (CCL): Quill Boxes from Mnidoo Mnising

Curated by Andrew Braid, Mark Bujaki, Christopher Davidson, Hilary Dow, Maham Farooq, Christine Hodge, Alexia Kokozaki, Annika Mazzarella and Rebecca Semple

14 May – 26 August 2018

Anishinaabe women have made and sold quill boxes since the early nineteenth century. Made from birchbark and sweetgrass, these extraordinary boxes are elaborately decorated in complex designs worked in porcupine quills. This exhibition presents sixteen quill boxes made by artists from Mnidoo Mnising (Manitoulin Island): Delia Bebonang, Josephine Bondi, Linda Kimewon, Maime Migwans, Marina Recollet and Evelyn Toulouse.

The artists’ boxes bear witness to their mastery of laborious techniques—quills can be dyed, folded, looped, tufted or sewn flat, for example—and the diversity of their symbolic repertoire, which includes flora and fauna, landscapes, intricate stars and abstract patterns. One of Maime Migwans’s boxes in the exhibition features a design by Carl Beam, her nephew, of the mishibizhiig, described by Alan Corbiere and Crystal Migwans as the underwater panthers who, in Anishinaabe cosmology, “govern the subsurface realm of lakes, rivers, swamps, caves, and earth.”

The quill boxes in this exhibition were made specifically for sale to visitors to Mnidoo Mnis. They were purchased by Victoria Henry while visiting M’Chigeeng First Nation in the 1980s and early 1990s—at the Ojibwe Cultural Foundation, at pow wows and at the renowned Lillian’s Crafts store. At that time, Henry owned Ufundi Gallery in Ottawa, where she sold the work of such contemporary First Nations artists as Migwans, Bondi and Recollet, in addition to Carl Beam, Shelley Niro and Ron Noganosh.

This exhibition is curated by students enrolled in a seminar in the new Graduate Diploma in Curatorial Studies at Carleton University.

Robert Houle: Pahgedenaun

Curated by Sandra Dyck

15 January – 29 April 2018

Kanata: Robert Houle’s Histories (1993) was the first solo exhibition of a contemporary artist presented at CUAG, soon after our founding in 1992. Twenty-five years later, CUAG is honoured to present an exhibition that brings together several recent bodies of drawings and paintings by the Saulteaux artist. In these works, Houle addresses the traumas he experienced as a child, while attending the residential school located in his home community of Sandy Bay First Nation, on the western shore of Lake Manitoba. The Roman Catholic school was run by the Missionary Oblates of Mary Immaculate, and in operation from 1905-1970. Pahgedenaun is a Saulteaux word expressing the self-defining and self-determining act of “letting it go from your mind,” embodied in Houle’s profoundly powerful and unsettling art works, which embody acts of memory, truth-telling, survivance and healing.

Robert Houle is an internationally-acclaimed Saulteaux artist and a member of Sandy Bay First Nation. He has exhibited his work extensively in North America and abroad since the early 1980s. His work is represented in many important public collections, including the National Gallery of Canada, Art Gallery of Ontario, Remai Modern, Canadian Museum of History, Winnipeg Art Gallery, National Museum of the American Indian (Washington, D.C.) and Museum of Contemporary Art (Sydney, Australia). He received a Governor General’s Award in Visual and Media Arts in 2015 and honorary doctorates from the University of Manitoba (2014) and the University of Ontario Institute of of Technology (2016). Robert Houle is represented by Kinsman Robinson Galleries, Toronto, and Studio 21, Halifax. Robert Houle: Life and Work, by Shirley Madill, will be published by the Art Canada Institute in May of 2018.

Linda Sormin: Fierce Passengers

Curated by Heather Anderson

15 January – 29 April 2018

Linda Sormin’s ceramics-based installations explore uncertainty, risk and survival, precarious and fragile structures. She is attentive to how we seek stability in the midst of chaos and transition, how we might pause during times of upheaval, how we hold onto the familiar through experiences of migration and change.
Fierce Passengers is an ambitious site-responsive exhibition created over a two-week period in-residence at CUAG. The gallery is transformed, containing the partial hull of a ship snaked through by a boardwalk. Large ceramic sculptures propped on wooden supports mingle with complex hand-built matrices of clay glazed in alluring colours and textures. Found objects, as well as those solicited from Sormin’s public call for objects that “carry us like fierce passengers,” nestle within this generative environment. Raw Leda clay, which underlies much of the Ottawa-Gatineau region and turns to liquid when agitated or under pressure, functions as a potent metaphor for the literal instability of the ground on which we live, as well as tumultuous times in which we find ourselves.
Visit CUAG’s YouTube channel to view a four-minute video of Linda Sormin discussing her exhibition.

Sun K. Kwak: Untying Space_CUAG

Curated by Euijung McGillis

15 January – 29 April 2018

“My drawings are born through the communion between the material and the spiritual, wherein my own self is constantly reflected emptying itself.” - Sun K. Kwak

Untying Space is Kwak’s “Space Drawing” series, which she has been practicing since 1995. Using black masking tape as her primary medium, Kwak reinvigorates and redefines architecturally inert space with rhythmic, expressive and dynamic lines and shapes.  In her first solo exhibition in Canada, the artist will create a site-specific “Space Drawing” in CUAG’s mezzanine space over a two-week period. Kwak aims to reify “new pictorial reality,” reflecting inherent interlocutory elements of the university art gallery as a site of creative encounters.

This exhibition is generously supported by the Korean Cultural Centre and Shurtape.

Supported by the Korean Cultural Centre and Shurtape

Visit CUAG’s YouTube channel to see a two-minute time-lapse video of Sun K. Kwak creating Untying Space_CUAG.

Open Space Lab 03: Kambui Olujimi

29 November – 04 December 2017

Open Space Lab (OSL) turns the empty gallery into a space for research, creation and collaboration ( OSL offers artists whose work is performance-based, exploratory and multi-disciplinary the space to explore, develop and initiate dialogue about ideas and art.

For OSL 03, the internationally renowned artist Kambui Olujimi (Brooklyn) will be working at CUAG on a new performance / animation project based on Wayward North, a 2010 commission for Art in General in New York. Olujimi will collaborate with diverse local actors at CUAG, filming their actions and movements as the basis for his animation.

The installation Wayward North was comprised of twelve embroidered celestial star maps, sculptures, photographs and drawings that work in tandem with his mythical narrative of the same name. Wayward North blends real places and events with the imagined to create a mythical world that reflects the hopes and fears of what is possible in this current moment.

Kambui Olujimi was born and raised in Bedford-Stuyvesant, Brooklyn and received his MFA from Columbia University. Olujimi’s interdisciplinary work challenges established modes of thinking through sculpture, installation, photography, writing, video and performance. His solo exhibitions include: A Life in Pictures at MIT List Visual Arts Center; Solastalgia at CUE Art Foundation; and Wayward North at Art in General. His works have premiered nationally at Sundance Film Festival, Studio Museum in Harlem, MoMA PS1, Museum of Contemporary Art, Los Angeles and MASS MoCA.

Internationally, Olujimi’s work has been featured at the Jim Thompson Art Center in Bangkok; Museo Nacional Centro de Arte Reina Sofia in Madrid; Museum of Contemporary Art Kiasma in Finland and Para Site in Hong Kong, among others. Olujimi has been awarded residencies from Skowhegan School of Painting & Sculpture, Robert Rauschenberg Foundation and Civitella Ranieri Foundation. He has received grants and commissions from numerous institutions including A Blade of Grass, the Jerome Foundation, and MTA Arts & Design for the City of New York.

Open Space Lab is generously supported by the Stonecroft Foundation for the Arts and an Ontario Arts Council Culturally Diverse Curatorial Projects grant.

Wrapped in Culture

15 November – 23 November 2017

CUAG is hosting Wrapped in Culture, a powerful reclamation project grounded in community engagement. Ten artists will work at CUAG from 10 am - 4 pm on 15-17 November and 20-22 November, and from noon - 4 pm on 18 November. You are welcome to drop by and observe the artists while they work!

Wrapped in Culture involves six Australian Aboriginal artists working with four Canadian Indigenous artists. The Australian artists are: Maree Clarke (Mutti Mutti, Yorta Yorta, Boon Wurrung), Vicki West (Tasmanian), Mitch Mahoney (Boon Wurrung, Barkindji), Molly Mahoney (Boon Wurrung, Barkindji), Kerri Clarke (Boon Wurrung), and Wade Mahoney (Barkindji). The Canadian artists are: Rosalie Favell (Métis), Barry Ace (Anishinaabe [Odawa]), Meryl McMaster (Cree) and Adrian Stimson (Siksika [Blackfoot]).

The artists will collectively create one Blackfoot buffalo robe and one Australian Aboriginal possum skin cloak. The project is an extended performance art project that unfolds through this series of workshops.

Wrapped in Culture is supported by a Canada Council for the Arts New Chapter grant. Be sure to look out for the Wrapped in Culture exhibition, which will be presented at the Ottawa Art Gallery in fall 2018.

Animate: Diyan Achjadi and Alisi Telengut

Curated by Alice Ming Wai Jim

11 September – 12 November 2017

This exhibition reflects on how colonialism, climate change and animate forces of the universe are interconnected through the work of two Canadian artists. The natural world is an inexorably bounded, animated environment in which art plays an agential role.
Jakarta-born Diyan Achjadi presents drawings and prints that examine historical engravings and surface ornamentation to reveal cross-cultural influences on Indonesia through trade, Dutch colonization and migration. Batik designs, wallpaper patterns and stylized Chinese clouds populate the hybridized layouts. Images culled from eighteenth-century European hunting manuals of exotic animals imported from Africa and Asia fuse with fantastical creatures and spirits from the archipelago’s complex syncretic system of local cosmological and religious thought. In a new work, Achjadi turns to more current environmental issues of rapid deforestation, the destruction of wildlife biodiversity and global warming.
Mongolian-born Alisi Telengut’s hand-painted films perform an experimental ethnography of Mongolia’s ethnic groups, many who are losing their traditional nomadic way of life as the grasslands dry up. Nutag (Homeland) is a requiem for the Kalmyk people, a Mongolian nomadic tribe and one of fourteen Turko-Mongolian nations that Stalin deported to Siberia during WWII. Tears of Inge tells of a popular indigenous shamanic story of the weeping camel, linking climate change effects of longer periods of droughts to the tragic loss of life as well as sustainable nomadic livelihoods—ultimately speaking to changing relationships between humanity and nature across the Steppe.

Always Vessels

Curated by Alexandra Kahsenni:io Nahwegahbow

11 September – 12 November 2017

Presenting work by Barry Ace, Vanessa Dion Fletcher, Carrie Hill, Nadya Kwandibens, Jean Marshall, Pinock Smith, Natasha Smoke Santiago, Samuel Thomas and Olivia Whetung

Today, many contemporary Indigenous artists are investigating and incorporating traditional modes of making in their practices. This exhibition explores contexts for, processes of learning, making and the transfer and continuity of knowledge. By acknowledging artists’ desire and need to learn customary skills and techniques that in the past were met with resistance or repressed, this exhibition explores the different ways makers are seeking out and uniquely applying this knowledge.
This exhibition features nine contemporary Anishinaabek and Haudenosaunee artists who draw from multiple forms of training, and whose media and subjects range widely – from glass beads to photography, and from language to land. Yet their processes remain primarily informed by the contemporary translation of traditional knowledge as material and embodied practice. Their works offer insights into the tremendous range of skills and techniques unique to the Anishinaabek and the Haudenosaunee and the ways that knowledge, in its tangible and intangible forms, can at once embody, carry and hold meaning.
As Native people, when we think about our belongings—things made by our hands, minds and voices—whether they are found in an exhibition, a book, in museum storage, out on the land or in a family member’s living room, we’re never really just thinking about them as things. They are, rather, meaningful objects, songs and stories that have the ability to carry, hold and transmit memory across time and space. Metaphorically, they are always vessels.

Always Vessels is generously supported by an Ontario Arts Council Aboriginal Curatorial Projects grant.

A PDF catalogue is available for download:

Listen to the Always Vessels panel discussion that took place 19 September 2017 here.

Carleton Curatorial Laboratory (CCL): HERbarium

Curated by Josie Arruejo, Chelsea Black, James Botte, Brigid Christison, Michelle Jackson and Sharon Odell

In collaboration with Dr. Cindy Stelmackowich

11 September – 03 December 2017

So, what is an “herbarium?” and why is she the focus?

An herbarium is a collection of dried and preserved pressed plants or fungi that are stored, catalogued and arranged systematically for study.

In highlighting the “her” within HERbarium, this exhibition focuses on the highly skilled and little-known women who contributed to the collection, identification, illustration, production and distribution of early scientific knowledge within the field of botany in Canada.

Because of the accessible nature of botany close to home, and a national pursuit and desire to see, describe and classify flora and fauna species that were distinct from Europe within a then-young Canada, botany was the first natural science formally practiced by Canadian women.

With examples of path-breaking contributions by Catharine Parr Traill, Lady Dalhousie, Faith Fyles, Dr. Irene Mounce and Dr. Mildred Nobles, this exhibition looks back at an important and underrepresented history. It also includes a copy of the “Privy Council Letter, 1920 – Women, Marriage, Employment” which outlines the federal policy in effect until 1955 that prohibited a woman upon marriage from continuing her career as a federal employee. The exhibition also looks forward at the continuing need to encourage women to pursue careers in science, where they face ongoing discrimination on the basis of intersections of gender, race, sexuality, dis/ability and class.

This exhibition has been developed for the Carleton Curatorial Laboratory in collaboration with Dr. Cindy Stelmackowich as part of her seminar “Representations of Women’s Scientific Contributions” offered through the Pauline Jewett Institute of Women’s and Gender Studies at Carleton University.

Annie Thibault: La chambre des cultures, foraging in time and space

Curated by Heather Anderson

11 September – 03 December 2017

Winner of “Exhibition of the Year (budget under $20,000, monographic) Award,” 41st annual Ontario Association of Art Galleries Awards, 2018

Returning to the lab as a site for artistic research and experimentation, Annie Thibault is artist-in-residence in a pilot project hosted by CUAG and the Department of Biology. With the collaboration of Dr. Myron Smith, Professor in the Department of Biology, Thibault is cultivating Armillaria gallica and several other basidiomycota (filamentous fungi composed of hyphae). Where Thibault has worked previously with mushrooms—the fruiting bodies of fungi—in this project she cultivates the organism’s fascinating underground mycelium network through which it shares information and nutrients. Continuing her work in drawing, video, photography and installation, and merging exhibition, lab and studio, Thibault is working with this living organism as agent and material.

In the MacOdrum Library: She Wants an Output

Curated by Michael Davidge

Main entrance, MacOdrum Library

01 September – 29 October 2017

She Wants an Output looks back at the history of the 1980s punk music scene in Ottawa, through the work of two women who were involved in it: Mary Anne Barkhouse and Julia Pine. The oppositional shout of punk rock was sounding throughout the world at that time, including in Ottawa. A small but vibrant community sprang up here, inspired by the DIY attitude and political consciousness of the movement. Women were key players in the scene, but their story has seldom been told.

Restless Virgins were a first-wave punk rock band active in the Ottawa music scene in the early ‘80s. Notably, its bass player, Mary Anne Barkhouse, went on to a celebrated career as an artist. The centerpiece of the exhibition is Barkhouse’s pelage (1999-2000), a work composed of four appliquéd blankets, reminiscent of the button blankets used by First Nations of the Northwest Coast for ceremonial purposes. Each blanket represents a stage in Barkhouse’s life and her development as an artist. Three of the four blankets will be on display. The pelage II blanket makes reference to the ten years between 1975 and 1985 when she played, toured and recorded with bands like Restless Virgins.

Accompanying Barkhouse’s work is an eclectic selection from Julia Pine’s collection of zines, flyers, records and other ephemera from her “punk days,” when she was involved in the small but vibrant scene as a musician, producer, writer and community organizer, from about 1978 until 1985. The selection will include documents from a project that Pine co-produced with Colleen Howe in 1985: the MATRAX compilation cassette, which featured thirteen all-female bands from Canada, the US and the UK.

Pine’s collection points to the central role women played in the exceptionally diverse local scene and highlights their strong commitment to progressive ideas that were, and continue to be, far from the mainstream.

Open Edition

Curated by Heather Anderson and Sandra Dyck; Presented in partnership with the NAC's Canada Scene

05 June – 20 August 2017

Marking Carleton University Art Gallery’s 25th anniversary and Carleton University’s 75th anniversary, CUAG presents Open Edition. The exhibition looks back and looks forward, opening up multilayered conversations that explore the printmaking medium and its messages, past and present.

Open Edition features a compelling group of historical and contemporary prints selected from the University’s collection and made by Canadian and international artists from the sixteenth century to the present day. It brings these artworks into dialogue with contemporary prints and print-based installations by guest artists Ciara Phillips (Glasgow), Ningiukulu Teevee (Kinngait), Mohamed Thiam (Ottawa), Guillermo Trejo (Ottawa), Étienne Tremblay-Tardif (Montréal), Ericka Walker (Halifax) and Melanie Yugo (Ottawa).

Open Edition also includes A Galaxy Reconfigured, a special collection intervention by artist Guillermo Trejo featuring intriguing constellations of historic European prints selected from CUAG’s collection.

Open Edition is presented in partnership with the National Arts Centre’s Canada Scene.

Open Space Lab 02: Hong Kong Exile

Curated by Anna Khimasia

13 May – 21 May 2017

Open Space Lab (OSL) turns the empty gallery into a space for research, creation and collaboration ( OSL offers artists whose work is performance-based, exploratory and multi-disciplinary the space to explore, develop and initiate dialogue about ideas and art.

A co-production between Hong Kong Exile (Vancouver) and fu-GEN Theatre (Toronto), produced in association with Theatre Conspiracy (Vancouver), No Foreigners is a new performance work that considers Chinese shopping malls as racialized spaces of cultural creation and clash. Seven original stories begin in a mall and quickly diverge—catapulting across cities, between Cantonese and English, in and out of the afterlife, and through past, present and future. This project attempts to unpack what is at the heart of “Chineseness” and what the future can hold for all of us as visitors on unceded Indigenous land.

Formed in 2011, Hong Kong Exile is a Vancouver-based interdisciplinary arts company whose members are Natalie Tin Yin Gan, Remy Siu and Milton Lim. Hong Kong Exile is committed to creating vital and innovative art through collaborative investigation across disciplinary boundaries and outside the formal and aesthetic traditions of dance, theatre, new music and multimedia. Hong Kong Exile has presented its work at such events as the CanAsian International Dance Festival, Seattle International Dance Festival, Dancing on the Edge Festival and Gateway Pacific Theatre Festival. In 2017 Hong Kong Exile will begin a two year residency with the PuSh International Performing Arts Festival in Vancouver.

Open Space Lab is generously supported by the Stonecroft Foundation for the Arts and an Ontario Arts Council Culturally Diverse Curatorial Projects grant.

The Other NFB: The National Film Board of Canada’s Still Photography Division, 1941-1971

Curated by Carol Payne and Sandra Dyck

27 February – 07 May 2017

The National Film Board of Canada (NFB) has long been acclaimed for its films, but few Canadians know that during a pivotal period in the country’s history, the NFB also functioned as the country’s official photographer. The NFB’s Still Division photographers travelled across Canada, making images that were reproduced in newspapers, magazines, books, filmstrips, and exhibitions.

The Other NFB looks at how this agency imagined Canada and its identity, what role photographs played in that imagining, and how the photographic archive has been used. The NFB aspired not just to present an image of the country, but the image. As a result, the NFB is unique in the history of Canadian visual culture as a conveyor of governmental values and programs in photographic form.

Outside These Walls: Photographs by Yannick Anton and David Ofori Zapparoli

Curated by Pamela Edmonds

27 February – 07 May 2017

This exhibition brings together photographic works by Toronto-based artists Yannick Anton and David Ofori Zapparoli whose respective imagery share a community-focused and collaborative approach to documenting urban life and its people. Zapparoli has represented the visual history of Canadian cities for over 30 years, the majority of his work is informed by a strong social realist approach. Until 1999, he had focused on the public housing development of Regent Park, putting a human face on the stigmatized and transitional community of which he had been a part of since his teens. Anton’s candid and energetic photographs draw stylistic inspiration from the youthful, street, fashion, music and queer-positive cultures that he captures.  Together both artists’ compelling works present unique and unapologetic insights into diverse landscapes and lives, addressing the systemic barriers that they expose and refute, while re-imagining regimes of the image away from fixed inscriptions of race, gender, class and corporeality.

The conversation with Yannick Anton, David Ofori Zapparoli, Pamela Edmonds and Kwende Kefentse is available on CUAG’s You Tube channel

Carleton Curatorial Lab (CCL): Making Radio Space in 1930s Canada

Curated by Michael Windover and Anne MacLennan

27 February – 07 May 2017

As radio entered homes and became an increasingly important component of Canadian society, it affected not only the soundscape of everyday life but had spatial consequences. By looking at the visual and material culture of radio in 1930s Canada, this exhibition offers a new way to think about a medium closely associated with twentieth-century modernity.

This exhibition focuses on how radio created or altered concepts of space in the 1930s. Expensive consoles and cheaper tabletop models joined furniture in the living room, affecting interior design while providing access to the wider world with the turn of a dial. The new electronic medium remapped space, simultaneously situating listeners within regions and linking them to far-flung locations. And with the development of portable and automobile radios, as well as high-power transmission stations, Canadians could remain connected while travelling through space. Making Radio Space is part of a larger research project, Seeing, Selling, and Situating Radio in Canada, 1922-1956, led by Anne MacLennan (York University) and Michael Windover (Carleton University).

Open Space Lab 01: Gita Hashemi

Curated by Anna Khimasia

31 January – 11 February 2017

Winner of “Exhibition of the Year (budget under $20,000, monographic) Award,” 40th annual Ontario Association of Art Galleries Awards

Open Space Lab (OSL) turns the empty gallery into a space for research, creation and collaboration ( OSL offers artists whose work is performance-based, exploratory and multi-disciplinary the space to explore, develop and initiate dialogue about ideas and art.

Join the inaugural OSL artist Gita Hashemi in the gallery and online as she creates a major new work, Grounding I: States of Gender, a durational performance that combines life writing with live writing. Hashemi’s performance takes place daily from 11 am - 2 pm (except Sunday 5 February and Monday 6 February).

In this work, Hashemi writes life stories shared with her by an Iranian woman named Zahra, in Farsi. The narrative has been emerging through conversations between Hashemi and Zahra about how being women has affected their lives in obvious and not-so-obvious ways, and how their lives are marked by gender. What is shared is Zahra’s writing. She is the writer. Hashemi is the scribe.

Visitors are advised that Gita Hashemi’s artwork contains written descriptions (in Farsi) of sexually explicit content and sexual violence.

Hashemi’s performance will be streamed online and blogged for the duration of the Open Space Lab. To access the livestream, please see:

Gita Hashemi’s practice draws on visual, media, performance, site-specific and live art strategies. Exploring social relations and the intersections of language and culture, Hashemi’s work is centred on marginalized histories and contemporary politics, often with an eye on women’s experiences. A trained calligrapher, she draws on written text as the premise for large multi-platform projects that blur the boundaries between artistic disciplines.

Open Space Lab is generously supported by the Stonecroft Foundation for the Arts and an Ontario Arts Council Culturally Diverse Curatorial Projects grant.

The 4th Carleton Community Art Exhibition

Curated by Katie Kendall

13 January – 22 January 2017

This fourth edition of the Carleton Community Art Exhibition marks Carleton’s 75th and CUAG’s 25th anniversaries by celebrating art made by Carleton students, staff, faculty, alumni, and retirees. The exhibition presents a diverse and exciting range of art including painting, photography, sculpture, textile arts, drawings, and prints. Join CUAG in saluting campus creativity!

Carleton Curatorial Lab (CCL): genderhow?

Curated by Matthew Conte and Lesley McNaughton

12 September 2016 – 12 February 2017

genderhow? questions, challenges, and dismantles how we understand, experience, and embrace intersectional gender identities and expressions.  Drawn from CUAG’s collection, these works expose and critique traditional notions of how masculinities and femininities are performed.  The photographs selected from series by Jennifer Dickson, Gabrielle de Montmollin, Becky Singleton, and Douglas Walker, and a video by Kent Monkman, encapsulate the gendered body as transformative, unstable, and temporary.  These artworks radically challenge the status quo and reimagine the concept of gender as multiple, complex, violent, and beautiful.  This exhibition is an invitation to radically reconsider your lived experiences with gender and how it is continuously performed, negotiated, and re-performed.

Patricia Reed: The One and the Many

Curated by Heather Anderson

12 September – 11 December 2016

Deploying familiar nation-state symbols and their representational tools of exchange—anthems, bureaucratic forms, flag iconography, and currencies—Reed’s works highlight the logics under which our world is ordered. Through drawing, video, audio, and book works, the Ottawa-born, Berlin-based artist amplifies and recomposes these appropriated forms into aggregates that foreground the need for new models of identification and transaction that reflect our complex global condition.

We Are Continually Exposed to the Flashbulb of Death: The Photographs of Allen Ginsberg (1953-1996)

Curated by Barbara Fischer and John Shoesmith

Produced by the Art Museum at the University of Toronto with the Thomas Fisher Rare Book Library, and sponsored by The Rossy Family Foundation

12 September – 11 December 2016

Allen Ginsberg, the visionary American writer and author of the celebrated poem Howl, kept his camera constantly at his side. From 1953 until 1963 he made numerous, often exuberant photographs of himself and his friends, including Beat writers William S. Burroughs, Neal Cassady, Gregory Corso, and Jack Kerouac. Ginsberg’s photographs languished among his papers for decades. When he rediscovered these photographs in the 1980s, he reprinted them, adding handwritten inscriptions. He then took up his camera again, guided by photographers Berenice Abbott and Robert Frank.
The photographs in this exhibition create a vivid portrait of the Beat Generation, a term that came to describe those who rebelled against the materialism and conformity of middle-class America and embraced freedom, sexual openness, and spontaneity. The qualities so evident in Ginsberg’s poetry—intense observation of the world, appreciation for the beauty of the vernacular, and faith in intuitive expression—also permeate his photographs. His spontaneous, uninhibited snapshots of ordinary events celebrate what he called “the sacredness of the moment.” With their captions, which often reflect on the passage of time, Ginsberg’s photographs are both records and recollections of an era.


Curated by Cara Tierney

12 September 2016 – 12 February 2017

Celebrating queer experiences that emerge from transactional creative exchanges, the artists in TRANSACTIONS define, refine, redefine, exult themselves today for the (a)genders of tomorrow, linking communities and challenging ideas of authenticity, allyship, belonging and being.

Elisha Lim’s illustrations reveal a pronounced sense of identity culled through personal moments of shared experience while Kama La Mackerel irreverently challenges public space in an exuberant and affirmative performance. Oli Rodriguez takes to the internet to connect with a lost parent’s lovers and Coco Guzman and Elisha Lim’s Los Sentidos offers a video portrait of love in the digital age. Morgan Sea’s photo journal of a return home capitalizes on the Internet’s photographic mutability, and her humorous zines deliver an intimate experience at the hands of her playful drawings and text. Ottawa residents will recognize the increasingly familiar painting style of Kalkidan Assefa as the show unfolds in the visual embrace of this unswerving ally.

Adrian Göllner: small Trinity

Curated by Heather Anderson

Presented in collaboration with the University of Ottawa’s Department of Visual Arts MFA program.

15 August – 28 August 2016

Göllner is interested in transposing elements of sound, time, and motion into other forms. The exhibition’s title refers to “Trinity,” the US Army’s code name for its first detonation of an atomic bomb in the New Mexico desert in 1945. Stemming from his Cold War military upbringing and evoking fears of our present societal condition, the works in small Trinity capture the shape and energy of explosions as tactile, cast forms whether in clay, bronze, or aluminum. These sculptures allow us to examine an explosion in a stilled state, and to consider the enormous powers that humans can wield.

Maura Doyle: the Vessel, that with fugitive Articulation answer’d, how deep is your love?

Curated by Heather Anderson

02 May – 28 August 2016

Winner of the “Innovation in Collection-Based Exhibition” Award, 40th annual Ontario Association of Art Galleries Awards

How do we know a pot? Expanding upon her ongoing interest in the form and history of the pot, Maura Doyle considers the vessel, a hollow form with a hole, and how we come to know it through interaction and use, representation, and museum display. Rich in metaphor, pots have been written about by poets and writers for thousands of years, including Persian poet Omar Khayyam, whose translated The Rubaiyat (1120A.C.E.) inspires the exhibition’s title.

Doyle considers the making of pots as a collaborative effort between the pot, the potter, and over ten thousand years of history. To consider these relationships further, she selected a number of pre-Columbian pots from Carleton University’s collection and over repeated visits communed with them, meditating with a focus on a single sense (sight, touch and sound) for each sitting.
The pot is a vessel, a body, connected to the outside by an orifice. It has an unknown interior space, which we think we know from the outside, but in fact we do not know and will not know, for if we break open a pot, the space and the pot are lost.

Maura Doyle is the third artist in the Collection Invitational series.

Carleton Curatorial Lab (CCL): Keeping Record: The Documentary Impulse in Inuit Art

Curated by Amy Prouty

02 May – 28 August 2016

Inuit art has often been described by critics as “memory art,” understood as having a seemingly apolitical focus on pre-contact life meant to appeal to the primitivist sensibilities of collectors in the South. This exhibition recasts such analyses of the subjects addressed by Inuit artists by viewing their depictions of traditional practices as acts of cultural resilience, in which they record their knowledge during periods of seismic change. This documentary impulse is seen across all regions of Inuit Nunangat from the historical period to the present day. The artists in this exhibition create artworks that strengthen Inuit culture, communicate its unique values, and advocate for its importance to non-Inuit audiences.

Keeping Record features works by Malaya Akulukjuk, Thomassie Kudluk, Zacharias Kunuk, Agnes Nanogak, Joanessie Napartook, Josie Papialook, Kananginak Pootoogook, Andrew Qappik, and Elisha Sanguya from Carleton University Art Gallery’s Inuit collection as well as contemporary photography by local artist Barry Pottle.

Noriko Shinohara: Cutie and Bullie

Curated by Cayllan Cassavia

02 May – 07 August 2016

Cutie and Bullie features the manga-inspired work of the New-York-based Japanese artist Noriko Shinohara, the unsung heroine of Cutie and the Boxer (2013), nominated for an Academy Award for best documentary feature. The centerpiece of the exhibition is a 64-foot painting entitled Love is a Roarrr—!!!, which immerses viewers in the narrative world of Cutie and Bullie, fictional characters representing the artist and her husband Ushio Shinohara, the famed “boxing painter.” Cutie is an alter ego that gives Noriko Shinohara the freedom to mix fact with fiction in telling the story of her 1972 immigration from Japan to New York City, complex marriage, and struggle to balance motherhood and her art career. The mural unfolds as a series of vignettes starting with the couple’s initial love-struck meeting, descent into unhappiness, and Cutie’s eventual revelation that she can control her destiny and reclaim her life by harnessing her creative powers.

Meryl McMaster: Confluence

Curated by Heather Anderson

02 May – 28 August 2016

Meryl McMaster’s potent, alluring photographs explore the fluid domain of identity, and the possibilities of examining and revisioning the self and its representation. Placing her body centrally in front of the camera, she transforms her appearance, whether by layering photographic images onto her body or through elaborate costumes and props she creates and inhabits as alter egos. An individual of Plains Cree and Euro-Canadian heritage, McMaster explores the dimensions of her own sense of identity, and the complex history of the photographic representation of Indigenous peoples. The three bodies of work in Confluence collectively trace the evolution of McMaster’s practice, with its recurrent thematic threads.
Confluence will tour and is accompanied by a publication with essays by Gabrielle Moser and cheyanne turions, as well as an interview with McMaster by Heather Anderson.

Bridging the City: Fourth Year Architecture Exhibition

14 April – 19 April 2016

The BAS Architecture degree exhibition Bridging the City will display the final work of the graduating class from the Azrieli School of Aarchitecture and Urbanism architecture program. The studio groups engage with a diverse range of issues, scales, and places exploring the potential of neighbourhoods in Ottawa and abroad.

Mathew Reichertz: Garbage

Curated by Robin Metcalfe

Produced by Saint Mary’s University Art Gallery, Halifax

18 January – 03 April 2016

Painting becomes an immersive, narrative experience with Reichertz’s architectural-scale series of panels that transform the gallery into a comic book. With assemblages as large as 11 x 17 feet, the series tells the story of a conflict between the protagonist and his neighbours in a transitional North End Halifax neighbourhood. Alternating between everyday activities and exchanges between characters to imaginary scenes, between quiet reflection and explosive emotional reactions, and between light and dark in a manner reminiscent of film noir, and of the rich visual world of many acclaimed graphic novels, Garbage expands the narrative aspect that has characterized Reichertz’s work into a new, psychologically charged realm that overlaps with popular printed matter.

Saint Mary’s University Art Gallery acknowledges Arts Nova Scotia, Canada Council for the Arts, and the Municipality of Halifax for their support of this touring exhibition.

Carol Sawyer: The Natalie Brettschneider Archive

Curated by Heather Anderson

18 January – 19 April 2016

The Natalie Brettschneider Archive is an ongoing series by Vancouver-based artist Carol Sawyer that features photographs, texts, a video, and music recitals to reconstruct the life and work of a historical genre-blurring performance artist. Brettschneider’s narrative is interwoven with references to people and places that Sawyer has uncovered in her process of research, and by the site-specific insertion of historical artworks and archival material. As a feminist critique of art historical narrative conventions, Sawyer’s project illuminates the persistent gaps and omissions of official histories, and the ways in which photographs are used to support cultural assumptions about gender, age, authorship, and art-making.

Sawyer is the second artist to be featured in CUAG’s Collection Invitational (CI) series. The CI series creates artist-led, open-ended opportunities to research and activate the collection through a week-long research residency at CUAG and subsequent exhibition. It stimulates the production of new artworks and fresh ways of seeing and thinking about the Carleton University collection.

Check out the video of Carol Sawyer’s CUAG performance at the opening reception on January 18th. We thank Landon Arbuckle and Lewis Gordon for their great work on this video!

CUAG acknowledges the support of Library and Archives Canada / Bibliothèque et Archives Canada and National Gallery of Canada / Musée des beaux-arts du Canada as lenders to the exhibition.


Carleton Curatorial Laboratory (CCL): Continuum: Abstraction in Contemporary Indigenous Art

Curated by Wahsontiio Cross

18 January – 19 April 2016

When abstraction emerged in European painting at the beginning of the twentieth century, it was seen in the West as an avant-garde art movement. This version of art history, which narrowly focuses on the European modernists who “discovered” and elevated abstraction beyond its “primitive,” multicultural origins, ignores the conceptual underpinnings and rich meanings of practices of abstraction around the world. For Indigenous artists, abstraction is both a continuation of traditional practices and an engagement with the contemporary world. This exhibition features works in the collection of the Carleton University Art Gallery by artists that contribute to this ongoing dialogue.

Continuum features works from the Carleton University collection by artists Lance Belanger, Robert Houle, Alex Janvier, Rita Letendre, and Helen Wassegijig.

Walking With Our Sisters / Presented in partnership with Gallery 101

25 September – 16 October 2015

Over the last thirty years, more than 1180 Indigenous women, girls and Two-Spirit people have been reported missing or murdered in Canada. Many have vanished without a trace, and their cases have often been inadequately investigated, neglected or ignored.

Walking With Our Sisters is a commemorative art installation that honours and respects the lives of these women, girls and Two-Spirit people. They are sisters, mothers, aunties, daughters, cousins, grandmothers, wives and partners. They are not forgotten.

Walking With Our Sisters presents more than 1800 pairs of moccasin vamps, including children’s vamps dedicated to the memory of children who did not return from residential school, arranged on the floor in a winding path formation. Visitors remove their shoes to walk alongside the vamps, on a pathway of cloth, in symbolic acts of solidarity and respect.

The vamps (or “uppers,” as they are also called) are intentionally not sewn into moccasins in order to represent the unfinished lives of the women and children whose lives were so tragically cut short. These vamps were created by caring and concerned individuals from across North America, who responded in overwhelming numbers to a public call issued by the Métis artist and activist Christi Belcourt, who initiated the project.

Walking With Our Sisters is a collective, collaborative, community-based memorial that creates a ceremonial public space so that people can come together to honour, to mourn, to remember, and to raise awareness.

The presentation in Ottawa of Walking With Our Sisters is supported by the WWOS Ottawa Committee and many volunteers.

Gallery 101 acknowledges a project grant from the Community Foundation of Ottawa for the presentation in Ottawa of Walking With Our Sisters. Gallery 101 is funded by the City of Ottawa, the Ontario Arts Council (an agency of the Government of Ontario), and the Canada Council for the Arts.

Carleton University Art Gallery is funded by Carleton University, the Ontario Arts Council (an agency of the Government of Ontario), and the Canada Council for the Arts.

Marchons avec nos sœurs / Présentée en partenariat avec la Galerie 101

Du 25 septembre au 16 octobre 2015

Depuis les trente dernières années, plus de 1 180 femmes, jeunes filles et personnes bispirituelles autochtones ont été portées disparues ou assassinées au Canada. Beaucoup se sont simplement volatilisés sans traces et des enquêtes de leurs cas ont souvent été inadéquates, négligées, ou laissées pour compte.

Marchons avec nos sœurs est une installation artistique commémorative qui veut rendre honneur et respect à la vie de ces femmes, jeunes filles et personnes bispirituelles autochtones. Elles sont des sœurs, des mères, des tantes, des filles, des cousines, des grands-mères, des épouses et des conjointes. Nous ne les oublions pas.

Marchons avec nos sœurs présente plus de 1 800 paires d’empeignes de mocassins, y compris des empeignes de mocassins d’enfants, ces dernières à la mémoire des jeunes qui ne sont jamais rentrés des pensionnats autochtones. Les pièces sont arrangées sur le plancher dessinant un chemin ondulé où les visiteurs, souliers enlevés, peuvent marcher à côté des empeignes de mocassins sur un sentier de tissu, symbolisant ainsi leur solidarité et respect.

Les empeignes de mocassins ne sont pas cousues au reste des chaussures laissées intentionnellement incomplètes. Elles représentent ainsi les vies des femmes et des enfants si tragiquement écourtées. Ces empeignes de mocassin ont été créées par des personnes à la grandeur de l’Amérique du nord, qui, possédées d’une grande humanité, s’inquiètent du manque d’attention portée à cette question. Elles ont répondu en nombre énorme à l’appel au public de l’artiste et activiste métisse, Christi Belcourt, qui lança le projet.

Marchons avec nos sœurs est un projet collectif, collaboratif et communautaire qui crée un espace public de cérémonie où l’on peut se rassembler pour honorer et pleurer les disparues, pour se remémorer et pour faire de la sensibilisation.

La présentation à Ottawa a le soutien du Comité MANS Ottawa et de nombreux bénévoles.

La Galerie 101 a reçu une subvention de projet provenant de la Fondation communautaire d’Ottawa pour la présentation de Marchons avec nos sœurs à Ottawa. La Galerie 101 est financée par la Ville d’Ottawa, le Conseil des arts de l’Ontario (une agence du gouvernement de l’Ontario) et le Conseil des arts du Canada.

La Galerie d’art de l’Université Carleton est financée par l’Université Carleton, le Conseil des arts de l’Ontario (une agence du gouvernement de l’Ontario) et le Conseil des arts du Canada.

Walking With Our Sisters (WWOS) Ottawa
Twitter: @WWOSOttawa
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Coalesce: Performance Art Festival

Curated by Jacyln Meloche

Co-presented with PDA Projects, SAW Gallery, and AXENÉO7.

03 September – 05 September 2015

Coalesce: Performance Art Festival is a four-day festival celebrating Canadian performance art in Ottawa. Fourteen Canadian performance artists, including Aymara Alvarado Lang (Gatineau), Maxime Boisvert-Huneault (Gatineau), Mariane Bourcheix-Laporte (Vancouver), Anne Marie Dumouchel (Gatineau), Anna J. Eyler (Montreal), Lilly Koltun (Ottawa), Nicolas Lapointe (Montreal), Stephanie Nadeau (Ottawa), Rah (Toronto), Anthony Sauvé (Gatineau), Simon Schlesinger (Toronto), Stéphanie St-Jean Aubre (Gatineau), Cara Tierney (Ottawa), and Étienne Tremblay-Tardif (Montréal) are coming together to perform, play, and practice body politics, site-specificity and cultural embodiment through acts of dance, cooking, and rebirth. Daring to challenge the definition of performance art as a medium historically rooted in the body, the artists will push beyond the boundaries of what constitutes performance by performing through culture, through literature, and through gender. Therefore, in an effort to literally and metaphorically coalesce, the festival as well as each artist exemplifies the ways in which performance art can foster a broader dialogue for creative and social growth in the nation’s capital.

For the CUAG schedule of performances, please see events
For the full festival schedule and biographies of the artists, visit

Human Nature

Curated by Corinna Ghaznavi

27 April – 23 August 2015

Artists featured: Mary Anne Barkhouse (Minden), Panya Clark Espinal (Toronto), John Dickson (Toronto), Soheila Esfahani (Waterloo), FASTWÜRMS (Creemore), Martin Golland (Ottawa), Sherri Hay (Toronto), Kelly Jazvac (London), Gareth Lichty (Kitchener),  Gavin Lynch (Ottawa), Lisa Myers (Port Severn), David Ruben Piqtoukun (Sutton West), Su Rynard (Toronto), TH&B (Hamilton)

We live in a world indelibly marked by human presence. We have inherited the consequences of industrialization, capitalism, colonization and globalization. The excess material prosperity of the ‘first world’ now threatens the very survival of habitats and ecosystems, and human and non-human animals. Human Nature presents fourteen contemporary Ontario artists whose works look at the state of the natural world and our impact on it.

Playing on the idea of human nature as a force that exploits and innovates, creates and destroys, the artists in the exhibition explore a range of critical issues such as water scarcity, endangered habitats, waste and sustainability, post-industrialization, colonization, and the link between global warming and extreme weather. Taken together, the works of these artists reflect on human constructions and the complex interconnections between nature, culture, and technology. Human Nature critiques and explores our collective past and our fragile present, while pointing to alternative ways of envisioning the future. 
Presented in collaboration with the National Arts Centre’s Ontario Scene

Collective Visions

Curated by Thomas-Bernard Kenniff, Giancarlo Mangone, Suresh Perera and Johan Voordouw

09 April – 14 April 2015

Collective Visions is an exhibition of design work by fourth-year architecture students enrolled in the Azrieli School of Architecture and Urbanism.  Combining creative research and advanced design exploration, the work is the culmination of the Bachelor of Architectural Studies and illustrates the very best of craft and technique in drawing, rendering and model-making.  Students will be presenting design projects responding to one of four specific studio briefs: indeterminacy, strangeness and the public realm around Chaudière Falls; performance space in Old Montréal; a new ecological vision for Kanata; and a New Market in the Bayview/Lebreton Flats area of Ottawa.  Together, these projects address questions both central to the discipline of architecture as well as complex cross-disciplinary ones.  By exploring the relationship between architecture and current social,  cultural, political and ecological concerns, the works present the students’ visions of the role architecture plays in the continuing transformation of our urban environment; visions that are necessarily collective.

Akram Zaatari: All Is Well

Curated by Vicky Moufawad‐Paul

Organized and circulated by the Agnes Etherington Art Centre, Queen’s University

19 January – 29 March 2015

All Is Well is the first Canadian solo exhibition of celebrated Lebanese artist Akram Zaatari. His practice involves unearthing, collecting and re-contextualizing documents that represent his country’s complex history. Through Zaatari’s investigations, viewers of this exhibition become witness to powerful accounts of a period marked by the violence and disorientation of the Lebanese Civil War (1975-1990). The works in the exhibition allow us to glimpse what has been concealed from view and hidden inside bodies, and to exhume what has been buried in the earth: letters written in code passed through censors, tiny letters swallowed and delivered after defecation, instantaneous chats between lovers presented as a letter, and reassuring letters enclosed within mortar casings.

The title of the exhibition reflects the positive tone that the former Lebanese member of the Communist Party, Nabih Awada, used in letters to his mother while he was imprisoned in Israel for ten years. Performing what remains unsaid in the video Letter to Samir, Awada re-enacts the cramped writing by and among prisoners. As the co-founder of the Arab Image Foundation, Zaatari has intimate experience with the precarious status of archives in times of war as well as the limits of any archive’s ability to fully capture historical events. The most recent project in the exhibition, Time Capsule Kassel, sends documents into the earth for their safety and also to propose that we delay answering questions until a future moment.

All Is Well is organized and circulated by the Agnes Etherington Art Centre, Queen’s University, with the support of the Canada Council for the Arts; the Ontario Arts Council; the Ontario Arts Council’s program for Culturally Diverse Curatorial Projects; the Kingston Arts Council; the City of Kingston; and the George Taylor Richardson Memorial Fund, Queen’s University.

Making and Marketing Art History in 18th-Century France

Curated by W. McAllister Johnson

19 January – 14 April 2015

In 18th-century France, prints were an instrument of culture in the home, artists’ studios, dealers’ showrooms and the prestigious Salon du Louvre exhibition. The printed image, exactly repeatable, most often had its origin in an original painting or drawing. Occasionally an artist, engraver or etcher might create a print that lacked an artistic source—instead seeking inspiration in immediate reportage of an event, often interpreted with a satirical bent. The repeatability and portability of prints contributed to the wide dissemination of artistic styles, academic iconography, and commentary on contemporary events. Prints eventually became a commodity, and then an industry, providing a comprehensive and accessible mirror of evolving French society. 

Prints both shaped and reflected art history as the discipline formed after 1750. Artists and engravers collaborated in establishing the reputations of artists and of individual paintings, past and present, disseminating and reinforcing what became the key “monuments” of French painting. The prints themselves, through recognition of the distinctive skills of individual engravers, shaped a new canon of printed images that were critically acclaimed and sought after by collectors then and now. New prints were often “announced,” either in publications like the Mercure de France, or in a dedicated prospectus, where publishers solicited subscriptions to underwrite the costs of engraving and printing. Here is evidence of the market—the publishers, distribution networks, and of course, the price.

Carleton Curatorial Laboratory (CCL): Art on a Green Line

Curated by Johnny Alam

19 January – 14 April 2015

Winner of “First Exhibition in a Public Art Gallery” award, 38th annual Ontario Association of Art Galleries Awards

Between 1975 and 1990, Lebanon was a battleground for local, regional, and international conflicts commonly referred to as the Civil Wars by foreigners and as the “foreign wars on our grounds,” or the “Ahdeth” [events], by Lebanese. Beirut was split by competing ideologies that divided the nation. East Beirut was controlled by Christian parties claiming to fight for the preservation of the Lebanese nation-state against increasing Palestinian militancy. West Beirut was controlled by a coalition of Palestinian, Leftist, and Muslim parties claiming to fight for the primacy of the Palestinian cause against a hegemonic Christian regime. A demarcation line separating East and West Beirut came to be known as the Green Line.

While the origin of this designation is not certain, the Green Line aptly described the post-apocalyptic cityscape it traversed, where streets and buildings were overtaken by wild vegetation. Although the boundary has ceased to exist physically, it remains psychologically present today as a negative site of memory that has at least two levels of meaning. First, it is a symbol of atrocity, a location of ruthless battles, kidnappings, and war crimes. Second, it represents a national identity crisis that continues to divide citizens along ideological lines. It is hard to think of a better location to start writing the unwritten official history of the ongoing Lebanese wars and to document their intergenerational traumas.

Featuring Hassan Choubassi, Joana Hadjithomas and Khalil Joreige, Merdad Hage, Lamia Joreige, Jayce Salloum, and Pierre Sidaoui, this exhibition presents a collection of wartime narratives that are intriguingly woven across a rich variety of media, including photographs, videos, books, postcards, and even a metro map. The makers of these works offer vivid experiences of everyday life during wartime, which history books simply cannot convey. The artists’ firsthand experience of war at an early age gives their stories a heightened sense of reality. In their works, they blur the lines between truth and fiction, past and present, memory and history, home and exile, and personal and collective trauma. Each work comes to operate as an alternative form of history and memory, transporting knowledge and narratives about the Lebanese wars across borders, places and times.

Inuit Prints: Japanese Inspiration

Curated by Norman Vorano, Ming Tiampo, and Asato Ikeda

Produced by the Canadian Museum of History

29 September – 14 December 2014

Kinngait Studios, in Cape Dorset, Nunavut, is the oldest and most successful printmaking enterprise in Canadian history. In the late 1950s, James Houston studied in Japan with the master woodcut printmaker Un’ichi Hiratsuka, bringing his newfound knowledge of Japanese techniques and materials back to Cape Dorset. Inuit Prints: Japanese Inspiration tells the story of that momentous cross-cultural encounter and explores its extraordinary results. It features rare, early prints by such artists as Lukta Qiatsuq, Tudlik Akesuk, and Osuitok Ipeelee, juxtaposed with the prints by Japanese artists that Houston brought to the Arctic in 1959. The exhibition reveals the many ways in which the now-famous artists of Cape Dorset creatively “localized” Japanese influences.

Samuel Roy-Bois: Not a new world, just an old trick

Curated by Melanie O'Brian

Co-produced by SFU Galleries, Carleton University Art Gallery, and Oakville Galleries

29 September – 14 December 2014

Winner (with Oakville Galleries) of “Innovation in a Collections-Based Exhibition,” 38th annual Ontario Association of Art Galleries Awards

Samuel Roy-Bois’ practice is concerned with the conceptual and physical definition of space. Questioning the boundaries between art and exhibition and production spaces, his works are as much about the space outside of the structures as those they enclose.

Roy-Bois has constructed a large-scale model of an imaginary building. It exists as an edifice and sculpture, and, housing 90 artworks that he has selected from CUAG’s collection, connotes an idea of the art gallery or museum. Visitors are welcome to enter this rough, tiered structure and explore its interior.

Raymond Boisjoly: Interlocutions

Curated by Heather Anderson

29 September – 14 December 2014

Raymond Boisjoly inaugurates Carleton University Art Gallery’s Collection Invitational exhibition series with a new body of work generated by his research of the George and Joanne MacDonald Collection of Northwest Coast Graphic Art. The Vancouver-based artist considers Indigenous artists’ use of printmaking, and the status, production, and circulation of prints in relation to Indigenous literary traditions. Boisjoly also mines sources such as YouTube, retrieving pivotal popular cultural moments, such as videos by pioneering bands, to index key cultural and political intervals, explore representations of Indigeneity, and exploit technological transmutations across media, platforms, cultures, and time.

Carleton Curatorial Laboratory (CCL): Formline Modern: The MacDonald Collection

Curated by students in Dr. Ruth Phillips' graduate seminar Printmaking in Modern Northwest Coast Aboriginal Art

29 September – 14 December 2014

Formline Modern: The MacDonald Collection of Northwest Coast Graphic Art explores silkscreen printmaking on the Pacific Northwest Coast from its emergence in the 1960s until its peak in the 1980s. Working during a period of renewed cultural production, coastal artists drew upon—and departed from—traditional imagery and the “rules” of formline design. Through the novel medium of silkscreen printing, these artists engaged with new narrative forms and content, shaping a uniquely Indigenous modernism that challenged conventions and ultimately expanded tradition.

The exhibition features the work artists Chuuchkamalthnii (formerly Ron Hamilton), Joe David, Robert Davidson, Freda Diesing, Beau Dick, Charles Greul, Mark Henderson, Henry Hunt, Richard Hunt, Ozistalis (Chief Henry Speck), Bill Reid, Art Thompson, and Roy Henry Vickers.

David Kaarsemaker. Pictures

Curated by Heather Anderson

18 August – 14 September 2014

David Kaarsemaker’s work explores and questions the relationship between the practice of painting, the physical world, and memory. He begins with the rooms or houses that he remembers most vividly from his life, building maquettes of these spaces, which he combines with photographs, projected images, maps, grids, shadows, reflections, and views of his studio space and exterior landscapes.

Kaarsemaker uses these and other source materials in the creation of layered compositions that integrate multiple, shifting points of view, as a means of reflecting on the ways that memories are always incomplete and ever-changing. As Kaarsemaker says, “Memories are warped by the stories we construct to fit our evolving identities. These stories, in the telling, are like architecture. We move through them, they fall apart and are repaired, and they give shape to our experience.”

Inuit Art: Skin Deep

Curated by Lisa Truong

12 May – 10 August 2014

Skin Deep explores the enormous importance of skins and skin clothing in Inuit culture, past and present. In Inuit narratives, skin is something that can be worn, shed, and manipulated. People tattoo their own skin to affirm personal and cultural identities, and wear clothing made from animal skins for aesthetic adornment and protection from the elements. Skin Deep features the tools used to hunt animals and prepare their skins; prints, drawings, and sculptures depicting stories and objects in which skin plays a central role; and objects made from skin, such as mitts and boots. The exhibition includes the work of artists like Ningeokuluk Teevee, Jessie Oonark, Arnaqu Ashevak, and Helen Kalvak.

Carleton Curatorial Laboratory (CCL): Imaginary Worlds: Scottie Wilson and Art Brut

Curated by Pauline Goutain and Jill Carrick

12 May – 07 September 2014

In Europe, Scottie Wilson is regarded as one of the most famous Outsider artists, and is often presented as a classic example of an art brut creator. Born in Glasgow around 1890, “Scottie” immigrated to Canada in the 1930s, where he began to draw, “all of a sudden,” he later said. His work was exhibited and sold in Toronto by Douglas Duncan, director of the Picture Loan Society. After Scottie returned to London in the 1940s, the Surrealists enthusiastically supported his work, introducing him to the French painter Jean Dubuffet.

For Dubuffet, Wilson was an exemplary art brut artist. Dubuffet had coined the term art brut (“raw” or “rough” art) to designate works made by untrained artists, people he defined as “unsmirched by artistic culture.” Exhibitions in Canada of Scottie Wilson’s work have tended to focus on his Canadian output. Imaginary Worlds instead focuses on Scottie’s reception in Europe, and investigates his drawings through the lens of Dubuffet’s definition of art brut. It reflects upon the ways in which Scottie’s art supported and challenged the art brut universe Dubuffet imagined.

Making Otherwise: Craft and Material Fluency in Contemporary Art

Curated by Heather Anderson

12 May – 14 September 2014

Today, there is an increasing permeability between the realms of “craft” and “art” occurring in step with an emphasis on “reskilling” and the handmade, as seen in contemporary art practice and in the widespread interest in all things handcrafted. Making Otherwise presents the work of six Canadian artists who merge the material and conceptual approaches of craft and art: Richard Boulet (Edmonton), Ursula Johnson (Eskasoni, NS), Marc Courtemanche (L’Ange-Gardien, QC), Paul Mathieu (Vancouver), Sarah Maloney (Halifax), and Janet Morton (Guelph). Drawing on their fluency in ceramics, basket weaving, furniture making, stitchery, bronze casting, woodworking, and knitting, these artists think through materials, forms, and ideas to make things differently or “otherwise.”

Tracking Systems: Andrea Campbell, Thomas Kneubühler, Guillermo Trejo

Curated by Sarah Eastman, Zoe MacNeil and Meredith Stewart

07 March – 14 March 2014

Co-curated by a group of three Carleton University Art History master’s students, this exhibition brings together the work of three contemporary artists whose work investigates information tracking systems. Andrea Cambell’s Surveillant Assemblage (2007, 2008, 2009) (2001) and Thomas Kneubühler’s Guard 2 (Kirk) (2006) focus attention on the relationship between information and the body in a world where surveillance systems constantly track our movements. Guillermo Trejo uses printmaking as a tool to create his own tracking system by tracing relationships between words and phrases on encyclopedic pages in Universal (2013-14). By exploring the material operation s of information tracking systems within our society, the works in this exhibition reveal the vast networks of visible and invisible actors engaged in data accumulation projects.

This exhibition has been organized in conjunction with the Art History Graduate Student Society conference Access/Restriction. Drawing inspiration from the conference theme, Tracking Systems is sited in the liminal spaces of the Carleton University Art Gallery: the first and second floor foyers and the first floor vitrine.

Sharon Hayes: Loudspeakers and Other Forms of Listening

Curated by Heather Anderson

03 February – 27 April 2014

One of two artists singled out for “special mention” by the jury of the Venice Biennale in 2013, the American artist Sharon Hayes examines the intersections of history, politics, and public speech in her work. Hayes borrows approaches from theater, anthropology, film, and journalism to explore such wide-ranging topics as student activism, the Patty Hearst kidnapping, and gender and sexual politics. Loudspeakers and Other Forms of Listening features video and audio installations, works on paper, and textiles made by Hayes over the last decade, including several works that reflect on the university as an influential place and time in the formation of our personal and political identities. Hayes is an assistant professor in the School of Art at Cooper Union in New York City and is represented by Tanya Leighton Gallery, Berlin.

Dennis Tourbin: The Language of Visual Poetry

Curated by Marcie Bronson; Organized and circulated by Rodman Hall Art Centre / Brock University

03 February – 27 April 2014

A pioneer of interdisciplinary practice in Canada, Dennis Tourbin produced a distinctive body of work integrating the written word with painting, drawing, video and performance. From the early 1970s until his death in 1998, Tourbin’s prescient work engaged mass media, using mediated text and imagery in explorations of language and meaning. Part documentarian and part storyteller, Tourbin employed the aesthetics of collage and a serial approach in the drawings and vivid paintings he called “visual poems.”

Tracing Tourbin’s practice from his first painting to his final print, this retrospective is the first comprehensive consideration of the artist’s oeuvre. In addition to a survey of Tourbin’s major works, a selection of journals, scrapbooks, and painted objects illustrate his process and fastidious documentation of everyday life. A prolific creator, Tourbin’s artistic practice and daily experience were inextricably linked.

Although the exhibition is anchored by CUAG, related programming will be presented by Gallery 101 and SAW Video, in recognition of Tourbin’s contribution to the development of local artist-run culture.

The 3rd Carleton Community Art Exhibition

Curated by Danuta Sierhuis

11 January – 19 January 2014

A celebration of creativity on the Carleton campus, featuring art made by 150 Carleton students, staff, faculty, alumni and retirees. The exhibition presents a diverse and exciting range of art including painting, photography, sculpture, textile arts, drawings, and prints. Join CUAG in saluting campus creativity!

Laura Letinsky: Still Life Photographs 1997–2012

Organized by the Denver Art Museum; Circulated by the School of Art Gallery, University of Manitoba, in collaboration with the artist and Yancey Richardson Gallery, New York

16 September 2013 – 19 January 2014

Oscillating between flatness and volume, story and metaphor, Laura Letinsky’s still life photographs challenge viewers to keep looking and to ask questions about how we see. The unexpected shifts of scale and playful illusions of space in Letinsky’s pictures are most pronounced in her recent work, in which she abandons traditional concepts of space, choosing instead to tape, pin or glue cut-out images of food and other objects to large sheets of paper, which she then photographs. In these images, the usual lines between real and imagined worlds are not only blurred, but tied into puzzling knots.

Carleton Curatorial Laboratory (CCL): The Nature of Beasts in 17th-Century Prints

Curated by Nathan Flis

16 September 2013 – 19 January 2014

From the point of view of the digital age, it is difficult to imagine a time when the life of the wild animal was seldom seen and rarely captured. This exhibit reveals a ‘moment’ in Western history when artists began to observe and imagine the life of creatures, situating them in landscapes representing their natural habitats. This conceit found its first real exponent in the experimental field observation of English artist Francis Barlow (c.1626-1704), famous for his illustrated edition of Aesop’s Fables (1666). Through prints, Barlow instigated a visual dialogue about the life or nature of the animal with artists in France and elsewhere. Focusing on prints from the 16th through the 17th century, The Nature of Beasts will transport viewers to another age, when the intimate viewing of small and detailed prints of birds and animals allowed everyday people to see and imagine the natural world for the first time.

This is the inaugural exhibition in CUAG’s newest initiative, the Carleton Curatorial Laboratory (CCL). This new gallery space will present exhibitions curated by Carleton students, faculty and staff from diverse faculties. Nathan Flis, curator of The Nature of Beasts, is a post-doctoral fellow in art history at Carleton University.

Y & G #12 (curtain walls)

Curated by Diana Nemiroff

16 September – 15 December 2013

Presented together for the first time in this exhibition, three sculptures and the film Camera Tracking a Spiral Drawn Between the Two Curved Towers of Viljo Revell’s Toronto City Hall introduce a new theme – the glass curtain wall – in the collaborative work of Christian Giroux and Daniel Young. The film, which documents an iconic example of Modernist architecture, was produced using the building itself as a “machine” as the camera travelled along the building’s twin curves, and provides a conceptual starting point for the exhibition. The sculptures conjoin a customized acrylic and spider-clamp design with standard off-the-shelf industrial racking systems to create human-scale sculptures that invite us to reflect on the production of space in the urban environment. Viewed together, the film and sculptures produce a series of intersecting readings in which the practices of modernist architecture and contemporary sculpture approach one another.

Colin Muir Dorward: Some Paintings Enjoying Fresh Air

Curated by Heather Anderson

19 August – 01 September 2013

Some Paintings Enjoying Fresh Air marks a departure from Dorward’s previous work. This summer, the artist moved his practice outdoors, producing a bold, fresh and complex body of work that looks beyond the confines of the studio. In these new watercolours and oil paintings, Dorward explores our relationship to nature from a wide range of perspectives. Depictions of nature as pristine, beautiful, mundane, despoiled, and even obscene are assembled in a complicated array, revealing conflicting ideas and opinions. Without making specific statements, these paintings represent anxieties about our changing climate and diminishing natural habitats.

Colin Muir Dorward is a finalist in the 2013 RBC Canadian Painting Competition.

The Past Is Present: Memory and Continuity in the Tyler/Brooks Collection of Inuit Art

Curated by Anne de Stecher, presented in partnership with the National Gallery of Canada's Sakahàn: International Indigenous Art

18 June – 11 August 2013

For Priscilla Tyler and Maree Brooks, their lifelong passion for Inuit art began during a chance visit to Fairbanks, Alaska, in 1970. Over the following twenty years and many visits to the North, they formed friendships with Inuit artists and storytellers. Their vision, grounded in the importance of community memory and cultural continuity, inspired them to build a remarkable collection of prints and sculptures and an extensive oral literature archive, comprised of texts and audio recordings. They donated their rich collection to Carleton University Art Gallery in 1992.

Celebrating the 20th anniversary of Priscilla Tyler and Maree Brooks’s gift to CUAG of their collection of Inuit art, The Past is Present features prints and sculptures by such artists as Kenojuak Ashevak, Jessie Oonark, Davidialuk, Helen Kalvak, and Luke Anguhadluq. It reflects the collectors’ holistic vision by presenting prints and sculptures that are contextualized with information from the oral history archive and by audio and textual materials. Dr. Tyler, an English professor whose expertise was oral literature, and Ms. Brooks, a public school teacher, were particularly inspired by the rich oral traditions of the Arctic. They recorded narratives told by storytellers and elders in the western Arctic, and collected prints and sculptures in the eastern Arctic in which artists explored the same themes.

The Past is Present is also inspired by narratives found in the collectors’ rich textual archive: accounts of life on the land, the respect for animals on which Inuit communities depend, and the stories that teach and preserve this knowledge. The exhibition demonstrates how artists, writers, and others document and transmit knowledge through a range of media. Priscilla Tyler died in 1999, and Maree Brooks in 2012. Today, their collection continues to communicate their passion for Inuit art and their belief in the importance of Inuit knowledge and cultural continuity.

Rebecca Belmore | What Is Said and What Is Done

Curated by Heather Anderson, presented in partnership with the National Gallery of Canada's Sakahàn: International Indigenous Art

18 June – 01 September 2013

The Anishinaabe artist Rebecca Belmore is a storyteller, deploying performance, sculpture, photography, and video to create, as Jessica Bradley has written, a “language of images and actions that insist on the difference between what is said and what is done.” She personalizes history, in particular the history of contact between European settler and Indigenous populations.

Two of Rebecca Belmore’s works address the tragic history of contact in the early 19th century between English settlers and the Beothuk of Newfoundland. There are varying recorded accounts of the capture of the Beothuk woman Demasduit and the murder of her husband Nonosabasut at Red Indian Lake. Belmore’s video March 5, 1819 (2008) powerfully conjures the emotional trauma of this event, bringing it into the present day by situating two contemporary individuals in the narrative, and placing the viewer amidst the projected images, as both witness and perpetrator. 

In 1823, English furriers captured Demasduit’s niece, Shanawdithit, who lived in St. John’s until her death in 1829 and became legendary as the last of the Beothuk. In Shanawdithit, the Last of the Beothuk (2001), Belmore commemoratively evokes the woman’s presence (and absence) with haunting stone sculptures of her feet and hands, rounded as if worn by water, sensuously connecting her to the land from which she was taken. These objects also suggest traces of ‘primitive’ culture, the artifact-like qualities echoing the anthropological interest Shanawdithit endured.

The Great Water (2002) offers a broader allegory for the sweeping, traumatic changes born from Europeans’ journeys across the ocean separating them from the Americas. We are witness to a monumental capsizing, a catastrophic loss of balance; the void of the empty hull alluding to tragedy and unfathomable loss. Just as the swath of white fabric that binds a woman’s body in Untitled 1, 2, 3 (2004) can be variously read as cocooning or oppressive, and her positions as restful or untenable, The Great Water communicates a flux of meaning. Belmore deftly manipulates and activates materials in visceral ways that elicit trauma and loss, but also course with currents of resistance and are starkly beautiful, engendering a sense of ambiguity, uncertainty, and the uncanny.

The exhibition’s title What Is Said and What Is Done has multiple implications. A balanced phrase pivoting on “and,” it calls for a comparison between words and deeds. It also recalls “Thy will be done, on earth, as it is in heaven,” from the Lord’s Prayer. In Belmore’s (Untitled) come in cielo così in terra photographs, the actors in March 5, 1819 adopt the identities of a present-day Adam and Eve, standing defiantly in a Downtown Eastside Vancouver parking lot, and also in water, their images reflected against the sky. The juxtaposed Ojibwe-Salteaux New Testament points subtly to another tragic history: the forced placement of Aboriginal children in church-run residential schools, where they were forbidden to speak, and thus lost, their languages. 

What Is Said and What Is Done asserts the finality of what is past: the great water has been crossed, there has been much turbulence. Eloquent works such as Belmore’s, however, can raise our awareness and encourage us to redirect our thinking, words, and actions in the present day. Rebecca Belmore is among the many people who are working to balance the vessel and chart a new course.

Dorset Seen

Curated by Leslie Boyd and Sandra Dyck: Presented in collaboration with the NAC’s Northern Scene.

02 April – 02 June 2013

Kinngait Studios, located in Cape Dorset, Nunavut, is the oldest and most successful printmaking studio in Canadian history. It has operated continuously since 1959 and released over 2000 print editions. The 1950s saw James Houston’s establishment of the printmaking program at the same time as Inuit started leaving their outpost camps to settle permanently in Cape Dorset. Yet images of the community – its development, its residents, and its everyday life – have rarely featured in prints produced there.

Dorset Seen looks beyond the limited sphere of the limited edition print. Today, demand for drawings is on the rise. And the market’s decades-long preference for such “traditional” subjects as hunting and mythology is under challenge from the community’s artists, whose drawings and sculptures of the “new” North have been enthusiastically embraced by the globalized contemporary art world.

Dorset Seen looks at how Cape Dorset is seen through the eyes of its artists. It features 48 drawings and 22 sculptures by 20 artists whose works depict a diverse range of subjects. The artists tackle Christianity and colonialism, the HBC and the RCMP, family and sport, architecture and community development, technology and transport, alcoholism and suicide.

Although Dorset Seen takes the pulse of recent developments in the community’s art scene, it does not focus exclusively on the contemporary, nor does it equate earlier artists with some vague notion of “tradition.” Dorset’s artists have always been inspired by their everyday lives, regardless of aesthetic convention or market pressure.

It is now more than three decades since Pudlo Pudlat’s radical lithograph Aeroplane (1976) shocked an art world born and raised on the idea of North as pre-modern, exotic, and unchanging. Kananginak Pootoogook recently observed that “White culture is all documented, but this is not so with Inuit culture.” As the artists featured in Dorset Seen make clear, “Inuit culture,” at least in Cape Dorset, includes snowmobiles and Nintendo and priests and bicycles.

Dorset Seen is comprised entirely of loans from public institutions including the National Gallery of Canada, Winnipeg Art Gallery, McMichael Canadian Art Collection, from Dorset Fine Arts and Feheley Fine Arts, and from collectors including Dorset Fine Arts, Feheley Fine Arts, Appleton Family Collection, Christopher Bredt and Jamie Cameron, John Cook, John and Joyce Price, Andrew and Valerie Pringle, Sam and Esther Sarick, and Marnie Schreiber, as well as others who wish to remain anonymous.

The 20 artists featured are:
Kiugak Ashoona, Shuvinai Ashoona, Etidlooie Etidlooie, Isaci Etidloi, Qavavau Manumie, Ohotaq Mikkigak, Jamasie Pitseolak, Mark Pitseolak, Tim Pitsiulak, Annie Pootoogook, Itee Pootoogook, Kananginak Pootoogook, Napachie Pootoogook, Paulassie Pootoogook, Pudlo Pudlat, Kellypalik Qimirpik, Ningeokuluk Teevee, Jutai Toonoo, Samonie Toonoo, Ovilu Tunnillie

Dawson Gold

Curated by Heather Anderson: Presented in collaboration with the NAC’s Northern Scene

02 April – 02 June 2013

Dawson City was founded in 1897 during the Klondike Gold Rush (1896-1899) near the site of Tr’ochëk, a Hän fishing camp used by the Tr’ondëk Hwëch’in First Nation at the meeting point of the Yukon and Klondike Rivers. At its peak in 1898, 40,000 people lived there, but today it is home to 1,300 residents.

The present economic crisis and faltering confidence in monetary currency have sent the price of gold soaring, luring fifty new gold-exploration companies to Dawson City in recent years, and dramatically increasing the number of claims staked. Throughout the Yukon there are 140 “mom and pop” operations sluicing “placer” gold—the flakes and nuggets that can be found in creek gravel—but the quest for hard-rock gold buried in the bedrock is mostly speculative, spurring the collection of soil samples all over the Klondike hills.

But there are other kinds of gold to be found in Dawson City. Over the last decade, a kind of artistic alchemy has resulted from the combination of the town’s unique culture, the Klondike Institute of Art and Culture’s Artist in Residence Program and recently founded Yukon School of Visual Art, and the influx of hundreds of artists who have come seeking to experience life in this remote community. Dawson Gold presents works made in and about Dawson City by four such artists: Allison Hrabluik, Valerie Salez, Zin Taylor, and Tom Wolseley.

Salez, a periodic Dawson City resident, and Wolseley, an artist from London, UK, create intimate and unexpected portraits of some of the town’s “characters.” Hrabluik’s and Taylor’s works point to the persistent allure of a remote and mythic “North,” our desire to belong, and the increasingly mobile nature of the globalized art world.

Temporarily integrating themselves into Dawson City’s social fabric, each of these four artists responded to this distinctive place by creating works grounded in their own experience. Like the many before them lured by the prospect of gold, these four artists, and their works, share the rewards of the experiences they found there.

Dawson Gold is presented in collaboration with the NAC’s Northern Scene, and supported by Yukon Tourism and Culture and the Yukon Government’s Culture Quest Program.

Jamelie Hassan: At the Far Edge of Words

Curated by Melanie Townsend; Organized and circulated by Museum London

14 January – 17 March 2013

This travelling exhibition is the first career survey of the award-winning artist Jamelie Hassan. The London, Ontario-based artist’s work reflects the tension between here and there, drawing upon her travels and research in Asia, the Americas, and the Middle East, particularly in Lebanon, the homeland of her parents, to intertwine personal narratives with her responses to critical issues of our time. The signature works in this show, produced from 1978 to 2010 in a wide array of media, including ceramics, watercolors, photographs, videos, and installation, speak to Hassan’s commitment to exploring cultural traditions and issues of representation, human rights, and justice.

The exhibition’s title, At the Far Edge of Words, comes from the poem “I Am from There” by Palestinian poet Mahmoud Darwish. It evokes a man’s journey through life and questions (like Hassan) the meaning of “home,” while reflecting Hassan’s recurring use of language in her work.

Jamelie Hassan works as an artist, writer, curator, and lecturer. Her artwork is represented in major collections in Canada including the National Gallery of Canada, Art Gallery of Ontario, Glenbow Museum, Morris and Helen Belkin Art Gallery and Museum London, among many others. Hassan has received numerous awards for her work including the prestigious Governor General’s Award in Visual and Media Arts in 2001.

A comprehensive catalogue co-published by Museum London and the Morris and Helen Belkin Art Gallery is available for $20.

Live Through This: Photographs by Tony Fouhse

Curated by Robert Evans

14 January – 17 March 2013

Working primarily in the genre of portraiture, the Ottawa photographer Tony Fouhse encounters a wide range of people through the course of his work, including drug addicts in Ottawa’s Lowertown, who he has been photographing since 2007. In June of 2010, Fouhse met Stephanie MacDonald, a heroin addict, and after getting to know her, asked if there was something that he could do to help. Stephanie said she needed help to get into rehab.

Some months later they began a harrowing journey, captured in a sequence of photographs Fouhse selected from the thousands he took of Stephanie as she struggled to get clean. His images of MacDonald are both banal and extraordinary, conveying grim aspects of her drug addiction and the steps she took to alter her life’s course. In Tony’s photographs, Stephanie doesn’t share space with much of anything or anyone. The narrative of her struggle is told through her expressive personality and her body: the addicted body, the rebelling body, and, finally, the recovering body. But it is obvious from her handwritten notes and other texts in the gallery that despite the images’ focus on Stephanie, this was not a solitary journey. The two protagonists of this story are present in every frame: Stephanie as subject and Tony as recorder and advocate. Live Through This became a life-changing project for Fouhse and MacDonald as they challenged and learned from one another.

Tony Fouhse has been producing commercial, editorial, and art photography for thirty years. He was the recipient in 2010 of the City of Ottawa’s Karsh Award, in recognition of his outstanding work in photography. His recent exhibition User was shown in Ottawa, Montreal, Toronto and New York.  Fouhse’s work is held in the National Photo Collection of Belgium, Canada Council Art Bank, Archives of Ontario, City of Ottawa, Library and Archives Canada, Ottawa Art Gallery, and private collections.

The Cedar Tavern Singers’ Art Snob Solutions, Phase III: At the Hundredth Meridian

Curated by Sandra Dyck

15 October – 16 December 2012

This exhibition is a celebration of CUAG’s 20th anniversary and of Canadian art itself, by Canada’s hottest artist/musicians. Part 1 is a specially commissioned music video and a limited-edition EP of 4 songs about key moments, figures, and artworks in Carleton’s (and Ottawa’s) art history. Part 2 presents drawings created for an activity book featuring mazes, colouring pages, and connect-the-dots focusing on Canadian artists and key works from CUAG’s collection. Part 3 presents the results of the Singers’ quest to ask CUAG’s audiences to draw their favourite work of Canadian art. Part 4 presents a limited-edition custom fragrance which, like most vanity scents, is an attempt by a third party to distill a variety of themes – in this case, the essence of Canada, Canadian art, and the Cedar Tavern Singers.

Fresh from their opening day performances at MASS MoCA’s Oh, Canada exhibition, The Cedar Tavern Singers AKA Les Phonoréalistes have been described as performance artists who “look and act like a band,” and deemed “considerably more entertaining than the writings of Clement Greenberg.” The Lethbridge-based “art-ernative” folk rock duo (Mary-Anne McTrowe and Dan Wong) was formed in 2006. Their recitals are part performance art, part pop concert, and part covert art history lesson. The Singers’ DIY objects, images, and performances are satirical, sincere, and more than a little cheeky.

Photomontage Between the Wars (1918-1939)

Curated by Fundación Juan March, Madrid

15 October – 16 December 2012

Photomontage Between the Wars (1918-1939) surveys the birth of the photomontage process as an art form as it simultaneously developed in Germany and the Soviet Union in the 1920s, with special focus on the interwar period, when the technique emerged and was adopted as an artistic medium. The exhibition is drawn from the Merrill C. Berman Collection in the United States, and features over 100 posters, books, magazines, and postcards by artists and graphic designers from 13 countries. Berman’s world-class collection of graphic design and modernist art is considered equal to that of the Stedelijk Museum’s in Amsterdam and the Museum of Modern Art’s in New York.

In Soviet Russia, photomontage became a powerful political weapon in the hands of such artists as El Lissitzky and Aleksandr Rodchenko. These artists exploited the power of the photographic image to create propaganda posters touting the Soviet regime, the country’s economy, and the myths of Lenin and Stalin. In Germany, John Heartfield and Max Burchartz used photomontage to create works that condemned the National Socialist regime as it rose to power in the 1930s.The extensive range of posters in the exhibition, several of which are landmarks in the history of 20th-century graphic design, demonstrates the enormous influence of photomontage in politics, social protest, advertising, publication, and the marketplace.

Cara Tierney: Go Forth and Multiply

Curated by Sandra Dyck

27 August – 30 September 2012

In the series of photographs featured in Go Forth and Multiply, Cara Tierney uses the body as a point of departure. In some works, the artist appears just once. In others Cara is replicated many times, playing all the parts in digitally-constructed scenes set in the studio, the city, and the countryside.

These photographs look to the past – to the way the body has been depicted by such artists as Botticelli, Edwin Holgate, and Bill Reid. They also examine the present, calling into question society’s fixed (either/or) categories of gender and sexuality.

Tierney’s photographs ultimately propose personal identity as a fluid and open construct, open to negotiation. As Cara has said, “the obsessive multiplication of the self in the photographs not only raises the idea of a fractured self, but is a deliberate response to the lack of visible queer subjects in mainstream society.”

An Embarrassment of Riches: The Collection in Focus

Curated by Sandra Dyck and Diana Nemiroff

07 May – 30 September 2012

Since its founding in 1992, Carleton University Art Gallery (CUAG) has built and cared for the University’s art collection as a rich resource for discovery, research, and learning through the direct experience of original works of art. CUAG presented its first exhibition in September of 1992; An Embarrassment of Riches marks our approaching 20th anniversary with a major exhibition that occupies the entire gallery and focuses on art acquired by donation and purchase since 2006. 

The exhibition includes an impressive core of contemporary photography by such artists as Robert Bourdeau, Justin Wonnacott, Jocelyne Alloucherie, Charles Gagnon, Lorraine Gilbert, Geoffrey James, and Michael Schreier. Videos presented include Kent Monkman’s cheeky Dance to Miss Chief and Zacharias Kunuk’s epic Nunavut series. The printmakers featured span centuries and continents – from Lucas van Leyden and Hans Sebald Beham to Clarence Gagnon and John J.A. Murphy to Pitseolak Ashoona and Ibrahim Miranda Ramos.

Delicate drawings by Ivan Eyre, Jane Martin, Kananginak Pootoogook, and Ron Bloore act as a quiet counterpoint to the Pop-inspired work of Michèle Provost, Mark Marsters, and Cynthia Girard, and a group of vividly-coloured 18th-century Indian Ragamala miniatures. The diverse sculptures featured include Liz Magor’s handy Tool Kit, several Haida argillite carvings of the 19th century, and Gunter Nolte’s minimalist steel piece, Step Up and Over.

An Embarrassment of Riches celebrates CUAG’s collection and the many stories it tells.  While we recognize that in the twenty-first century these stories will reach audiences through diverse routes, many of them virtual, we are confident that the art object has not lost its power and continues to stir our curiosity about the worlds it lays before our eyes.

Milutin Gubash: All in the Family

Curated by Sandra Dyck

13 February – 22 April 2012

All in the Family is a ten-year survey of the Serbian-born, Montreal-based artist Milutin Gubash, whose diverse practice is focused on the investigation of his personal, social, and cultural identity. Gubash casts himself (and his family and friends) in his work, using this motley crew to tell stories that blur the real and the fantastic, art and everyday life, fact and fiction, and the past and present.

The exhibition is anchored by several major projects including Which Way to the Bastille?, which recounts the story of his father’s life in, and escape from, communist Yugoslavia. The video These Paintings (2010) and related abstract “paintings” both explore the viability of abstraction, and the life of the artist, under Communism. The hilarious Born Rich, Getting Poorer is a sitcom-style video series (complete with laugh track) starring Gubash as himself, the Buster Keatonish everyman who embarks on a hapless search for home, and for roots, after the recent death of his father.

A publication is planned in collaboration with Rodman Hall Art Centre, Musée d’art de Joliette, Southern Alberta Art Gallery, and Kitchener-Waterloo Art Gallery.

Erin Shirreff: Available Light

Curated by Sandra Dyck and Jan Allen; Produced with Agnes Etherington Art Centre, Queen's University, and the Contemporary Art Gallery

13 February – 22 April 2012

The Kelowna-born, Brooklyn-based artist Erin Shirreff is garnering international acclaim for her diverse body of work – photographs, videos, and sculptures – which is united in its singular focus on objects by turns extraordinary and banal. Shirreff is compelled not by the cultural meanings of objects, but by their resolute objecthood, their very “blankness.”

Shirreff’s delicate, shape-shifting abstract sculptures of compressed ash are informed by her interest in our encounters (whether in person or through photographs) with the enigmatic and often unyielding forms of classic mid-20th-century minimalist sculptures. Her silent videos of iconic objects like the 30 Rockefeller Plaza building in New York, or the moon, or the monumental Roden Crater in the Arizona desert, are based on photographs sourced on the Internet and in books, reshot serially and used to generate not-so-seamless montages that subtly reveal their constructed nature while drawing attention to the ways images mediate our understanding of the world. The handmade clay forms that are the subject of her spare “documentary” photographs do not call to mind particular objects, creating a space, as she has said, “for wondering and the potential and pleasures of ambiguity.”

Shirreff’s work is in the collection of the Metropolitan Museum of Art, the Guggenheim Museum, and the Museum of Fine Arts in Houston, Texas. A publication is planned in collaboration with Agnes Etherington Art Centre, Queen’s University, and the Contemporary Art Gallery, Vancouver.

Making the News in 18th-Century France

Curated by Stéphane Roy

13 February – 22 April 2012

Making the News examines the ways the news was created, looked at, understood, and consumed in 18th-century France. In particular, printed images helped people grasp the nature of important events both near and far, from the taking of Québec City in 1759 to the storming of the Bastille in 1789. Despite the unpredictable time lag involved in their production, prints shaped public opinion as much, if not more, than the printed word, giving visual form to such politically-charged ideas as tyranny and patriotism.

Making the News presents approximately 40 prints and rare books made in France from 1770 to 1820, selected from CUAG’s collection, and loaned by the National Gallery of Canada, Library and Archives Canada, and the MacOdrum Library at Carleton University. Woven into a narrative linking history and art history, literature and journalism, politics and image-making, these objects will shed new light on art and ideas in the era of the Enlightenment and the French Revolution.

Although bound to centuries-old printmaking techniques, the 18th-century public’s relation to visual information was the precursor to our experience in the digital age, shaping the news through the rapid production and dissemination of images. A publication is planned.

Anthony Burnham: Even Space Does Not Repeat

Curated by Diana Nemiroff and Naomi Potter; co-produced with Walter Phillips Gallery, Banff

14 November 2011 – 29 January 2012

This exhibition presents a focused selection of recent paintings by Montreal artist Anthony Burnham, whose stylistically heterogeneous work investigates the possibilities of painting as a conceptual practice. Burnham’s works take as their themes the formal and symbolic components that have played a central role in the history of painting, such as perspective, illusionism and the grid.

As Marie-Ève Charron, one of the essayists for the forthcoming catalogue, has observed, each of Burnham’s paintings seems to conjure the question formulated by Jean-François Lyotard: “What to paint?” What is there left, today, for painting to say? And how can it say it? Anthony Burnham’s works offer much opportunity for reflection on these matters, as there are the products of a painting practice that is, at heart, a conceptual activity.

“Truly Canadian”: Inuit Art and National Identity

Curated by Michelle Bauldic

14 November 2011 – 29 January 2012

Truly Canadian takes as its starting point a 1987 quotation by Virginia Watt in Inuit Art Quarterly: “If we discount hockey arenas and football and baseball stadia, Canadians are not ordinarily perceived as a passionate people, except, it appears, on the subject of Inuit art. Inuit art is ours; it is truly Canadian.” The exhibition explores how Inuit art has come to be perceived as “ours,” and how the Canadian government has utilized it as a means of articulating Canadian identity at home and abroad.

Since the 1950s, the government has officially supported, promoted, and marketed Inuit art in a variety of ways, including circulating travelling exhibitions, presenting gifts to foreign dignitaries, distributing special print portfolios, and disseminating images on stamps and coins. The exhibition will feature original prints and sculptures by such artists as Kenojuak Ashevak, Parr, Helen Kalvak, Pudlo Pudlat, Jessie Oonark and Kananginak Pootoogook, as well as the consumer products – stamps and coins – they inspired. It also presents special projects, such as a portfolio of Kenojuak Ashevak engravings released in 1967 to mark Canada’s centennial.

People Like Us: The Gossip of Colin Campbell

Organized and circulated by Oakville Galleries, and made possible in part through a contribution from the Museums Assistance Program, Department of Canadian Heritage; Curated by Jon Davies

14 November 2011 – 29 January 2012

People Like Us is the first major exhibition of the groundbreaking video artist’s work since his death in 2001. The exhibition surveys Colin Campbell’s illustrious career, from such early tapes as Sackville, I’m Yours… (1972), which features Campbell as the beguiling fictional persona “Art Star,” to his final work, Que Sera Sera (2001).

Campbell’s life and artistic practice derived inspiration from and through gossip. Through videotape, he gossiped with and about his real social circle while creating a new, fictional, cast of characters. Boundaries of truth and falsity concerned him even less than did conventional ideas of screen acting and narrative closure. His homespun tapes are a perverse collage of tall tales, rumours, conversations and daydreams gleaned from his everyday life. Ironic, irreverent and ambiguous, Campbell’s tapes demonstrate how reality can be manipulated and invented to reflect one’s desires.

Leslie Reid: A Darkening Vision

Curated by Diana Nemiroff

30 August – 30 October 2011

This solo exhibition traces a career that spans more than three decades. Selected from a much larger body of work by Ottawa painter Leslie Reid, the paintings presented are grouped thematically by air, earth, and water. “Air” sets works from the 1970s, liminally abstract, delicately nuanced paintings of the skies over Grand Calumet Island in the Ottawa River valley alongside recent paintings of Cape Pine on the southernmost tip of the Avalon Peninsula of Newfoundland, where thick, enveloping fog creates its own palpable whiteness. “Earth” groups paintings from the artist’s travels in France, England, and California during the 1980s and early 1990s. “Water” spans a lengthy period from the mid 1990s to the end of the first decade of the present century, when Reid was focused more narrowly on family property in Cantley, Quebec, and returns to the Ottawa River towards the end.

For Leslie Reid, the sensory experience of the landscape is deeply imbued with feeling. Although she has always worked from photographs, her intention has never been photographic objectivity. What interests her are the perceptual and psychological sensations provoked by the experience of a particular place. The landscapes she is attracted to extend from Calumet and Cantley, places with which she has had a long personal connection, to less familiar sites where the quality of the space and light and the signs of human presence on the land are held in equilibrium. Whereas the sense of a lived connection with the natural phenomena of air, earth, and water is a constant in her work, over time her vision has darkened, both literally, in response to a particular place and in a deepening emphasis on the fragility of the human connection. The sense of wilderness, real or imaginative, and with it the anxiety of survival, is never completely absent from her work.

Parr and Luke Anguhadluq: Drawing from Life

Curated by Sandra Dyck

30 August – 30 October 2011

Although they never met, Luke Anguhadluq and Parr share much in common, as men and as artists. Born two years apart in the 1890s, both were hunters who grew up on the land, only moving to permanent settlements in 1961 – Parr to Cape Dorset and Anguhadluq to Baker Lake. Their hunting activities curtailed by infirmity and age, they forged second careers as artists, drawing from life experience and memory to make spare and remarkable images that often depict the hunt, hunters, and the hunted, and in Anguhadluq’s case, community and spiritual life.

In Parr’s drawings, hunters advance across the page – always from right to left – in stately armadas, determinedly pursuing and occasionally confronting animals in an unceasing quest for food not bound in space or time by the edges of the paper. Anguhadluq’s compositions are looser: he sometimes turned the paper while drawing, orienting figures to different sides of the paper or spiraling figures and objects out from the centre. They’re also more abstract: the quest for food might be alluded to by a lone fishing spear. In other drawings, caribou antlers, spears, and fish extend out from mask-like human faces, collapsing the physical and conceptual distance between humans and animals.

Neither artist gave priority to depicting recognizable places, individualized people or actual events recalled from memory, nor did they pay heed to Western ideas of naturalism and perspective. Both reduced their subject, whether fishing scene, family group or drum dance, to its most essential characteristics and rendered it with great stylistic economy. The works of Parr and Anguhadluq may appear straightforward, but they offer intense glimpses of their interior states and exterior realities that remain ultimately unknowable, then and now.

Against the Grain: Japanese Woodblock Prints from the University of Alberta Art Collection

09 May – 24 July 2011

Against the Grain surveys the aesthetic, cultural and technical developments in Japanese woodblock printing from the Edo period (1603-1868) to the present day, including the historic development of ukiyo-e (“pictures of the floating world”) and more recently, shin-hanga (“new prints”) and sosaku-hanga (“creative prints”).

Highlights of the exhibition include a body of Edo-period ukiyo-e prints, which depict contemporary urban life, geisha culture and legendary events, and numerous 1857 prints by Kunisada II illustrating The Tale of Genji, the 11th-century novel thought to be the world’s oldest. The exhibition also features iconic works by Hiroshige and Hokusai, which had a major impact on the work of such European artists as Degas, Cassatt, Gauguin and van Gogh.

The exhibition concludes with twentieth-century prints, including shin-hanga landscapes by Kawae Husui, Tokyo views by Shirō Kasamatsu, and more recent experimental prints from the 1980s and 1990s, whose makers build on the monumental achievements of their forebears.

Rita Letendre: Themes and Variations

Curated by Diana Nemiroff

09 May – 24 July 2011

Winner of a Governor General’s Award in Visual and Media Arts in 2010, Québec-born Rita Letendre attracted attention early on as an abstract painter to watch. Introduced to the circle of Automatiste painters grouped around Paul-Émile Borduas, she developed a style characterized by brooding emotion, an abundant use of black, and turbulent forms. By the late sixties, resident in California with her husband, the Israeli sculptor Kosso Eloul, she abandoned oil for acrylics. Her paintings became increasingly monumental, organized around dynamic spatial vectors that charged the space of the canvas with luminous energy. In the 1990s her work softened and became more lyrical, focused on the sky and its changing light and moods.

While in California, Letendre was introduced to printmaking at the Tamarind Lithography Workshop and produced her first prints in 1965. She went on to master serigraphy, which easily lent itself to her flat, colourful, and highly graphic images. From the mid-sixties to the 1980s, her printmaking echoed the evolving direction of her painting, by the mid-seventies beginning to reflect the more atmospheric textures suggestive of natural light effects in the landscape. Yet although her prints are necessarily smaller in scale than her paintings, they ambitious expressions in their own right that translate the painterly qualities of her vision with subtle fidelity.

Drawn from the gallery’s collection, this exhibition spans three decades of her work, from 1965 to 1997, and includes examples of her lithographs, serigraphs, and aquatints as well as a small selection of pastels and paintings.

Patriot Loves: Visions of Canada in the Feminine

Curated by Minh Nguyen

09 May – 10 July 2011

From its birth as a nation which nests cultural nations, Canada/Kanata is a native land for some and an adopted home for others. Multiculturalism has become the benchmark of Canada`s national identity and a point of pride for Canadians.  Art, in its multitude forms of expression, continues to serve as a powerful means of articulating the nature, legacy, and fable of our cultural mosaic as a site of belonging.

Few artists have articulated their passion for Canada as powerfully as Joyce Wieland (1930-1998). Wieland’s deep love for Canada is reflected in her famous words, “I think of Canada as female. All the art I’ve been doing…is about Canada.” 2011 marks the 40th anniversary of True Patriot Love, Wieland’s landmark solo exhibition at the National Gallery of Canada.

Taking Wieland’s woman-centered expression of Canadian nationalism as its starting point, Patriot Loves presents several of her key works with those of Nadia Myre and Cynthia Girard, contemporary artists exploring related issues. Featuring paintings, drawings, textiles and videos, the exhibition examines some of the historical, political and cultural threads that inform and enrich our notions of patriotic loves for this inherited or adopted land.

Nadia Myre: Symbology

Curated by Sandra Dyck

14 February – 24 April 2011

Symbology presents recent beaded and photographic works by Algonquin artist Nadia Myre – the Desire Schematics and Scarscapes series of 2008-10 – that demonstrate her longstanding fascination with the communicative potential of abstract visual symbols. The Desire Schematics depict linear technical (piping and plumbing) diagrams in coloured beads on white backgrounds, and have saucy titles like Lubricator and Union Screwed. The Scarscapes picture bodily scars rendered in a sombre palette of grey, black, and white beads, descriptively titled Cross or Circle according to their simplified forms. The beaded works are also presented as pristine large-scale photographic images, framed in white and depicting mostly white beads arrayed in uniform grids. With their monumental feel and machined aesthetic, the photographs further abstract and distill the symbols that are the objects of Myre’s study.

The Desire Schematics and Scarscapes exemplify Myre’s persistent interest in systems of communication, especially in the coded forms employed in the realm of the human body, with its scars, frailties, and unruly desires. Such languages as Braille, ground to air signals and Morse code have all made appearances in her earlier work, but Myre’s use of such systems is never merely aesthetic. “There’s no such thing as decoration,” she has said, “everything means something.” Whether presented in analogue (beaded) or digital (photographic) form, the Desire Schematics and Scarscapes lead us, humorously and poignantly, to consider the real-world objects, events and histories – whether personal or political, historical or contemporary – that inspired them.

A catalogue, published in collaboration with Galerie Art Mûr and Musée d’art contemporain des Laurentides and featuring essays by Sandra Dyck, Colette Tougas and Amanda Jane Graham, will be launched in March 2011.

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