NEW DATES! August 25 to October 9, 2010
A juried exhibition of 35 works by 33 craftspeople based on the theme, "Playing"
Organized by the Saskatchewan Craft Council
October 5 to 26, 2010
This exhibition presents viewers with an open-ended conversation between the work of contemporary artist and the verse of nineteenth-century American poet Emily Dickinson.
From the MacKenzie Art Gallery outreach Program
October 14 to November 30, 2010
Mixed media paintings on canvas by Saskatchewan artist Alicia Popoff.
Welded steel sculptures by Saskatchewan sculptor Les Potter.
Made possible through funding provided to the Saskatchewan Arts Board by the Saskatchewan Ministry of Tourism, Parks, Culture and Sport.
April 1 to April 23, 2011
The exhibition Motion Captured, Motion Denied presents the work of young, Saskatchewan contemporary ceramic artists Jody Greenman-Barber and Zane Wilcox. Although both artists work in very distinct and different approaches from each other, a commonality between their works is how each artist addresses the concept of motion. Jody’s work focuses on the representation of motion, while Zane’s work reflects a sense of stability or the denial of motion. Pushing the boundaries of wheel-thrown traditions and approaches while revolving her practice around the spinning motion of the pottery wheel, Jody’s work concentrates on the gestural qualities of clay and exaggerated wheel-thrown lines and forms. Zane’s work embodies a sense of immovability and stability, thus serving as an opposition to direct force or motion. This sense of stability, of permanence, then allows the work to serve as a reference point for the motion or physical movements of the viewer within the gallery space, as he or she moves around the works to take in the different angles and perspectives that they offer.
Organized by the Organization of Saskatchewan Arts Councils OSAC
July 1 to November 15, 2011
You may have seen our ad on CTV – now you can see the real thing!
The Royal Saskatchewan Museum presents Hunter of the Prairie Sea, a travelling exhibit. This exhibit features “Omācīw” (oh-matchee-oh) a Tylosaurus (TIE-low-SORE-us) skeleton, over 9.75 metres (32 feet) in length.
Near the end of the same period when dinosaurs ruled the land, many different species of Mosasaurs (MOES-ah-SAWRS) prowled the oceans and seas. “Omācīw” was one species of Mosasaur called a Tylosaur.
“Omācīw” is the Cree word for Hunter.
Ironically, our hunter of the prairie sea was discovered by a Saskatchewan Hunter on the shore of Lake Diefenbaker.
Traveling from the Royal Saskatchewan Museum
By Michelle LaVallee, Assistant Curator, MacKenzie Art Gallery
When I think of the land, I think of place, of community, of our relationship and responsibility to it and to each other. How does the landscape affects our lives, how do we determine land use, and what is our sense of place in a multi-centered society?
What is certain is the power of the land to inspire and the continued interest of artists in representing it. Although depictions of the land are most commonly identified with landscape painting, the genre can be more broadly described as place-oriented art, a definition which encompasses a variety of mediums.
As an artist, I, too, have been drawn to the land, although I have often been troubled as to how to represent it. I believe this has to do with the loaded history of landscape painting. A genre of painting dominated by European conventions, landscape painting has been used in North America to influence public opinion and, in particular, to define, inspire and justify western expansion and colonial policies.
As recognition and awareness around these issues grows, there has been a shift, not only in how we relate to the land, but also in how artists are choosing to represent it. This permanent collection exhibition explores how artists have chosen to work with the theme of landscape in ways that differ from “traditional” landscape painting. These non-conventional portrayals of landscape include works by artists such as Don Proch, Richard Gorenko, Doris Larson and Lorne Beug. These artists are not rigidly bound by history or tradition in their expressions of landscape, but rather take their inspiration from a range of sources: from the mapping of geography through science and technology to deeply personal connections with land and place.
Artists represented in this exhibition include: Christopher Finn, Diane Pugen, Don Proch, Doris Larson, Gordon Smith, Jerry Grey, Lorna Russell, Lorne Beug, Marsha DeLouchery, Richard Gorenko, and William Lobchuk.
Image Credit:
Don Proch
Delta night mask – homage a Kelly Clark, 1984
silver point, graphite, acrylic lacquer, fiberglass, steel, fibre optics
84.5 x 36 x 42 cm
Collection of the MacKenzie Art Gallery, purchased with the financial support of the Canada Council for the Arts Acquisition Assistance Program and with funds from the James Kurtz Memorial Foundation
Organized by the MacKenzie Art Gallery with the support of the Canada Council for the Arts, the Saskatchewan Arts Board and the City of Regina Arts Commission.
November 1 to 23, 2011
This exhibition features a series of drawings by two artists – Sarah Jane Holtom’s drawings of her dog and Brandan Doty’s hockey drawings. Both artists use a drawing technique called blind contour – where the artist does not look at the drawing they are making, or only with quick glances, and instead they keep their eye on what they are drawing. In Sarah’s case her pencil crayon drawings of her aging dog nestled amongst pillows and carpets is handled in a delicate, beautiful light touch. Brandan drew the hockey drawings by watching a hockey game on television and keeping his eye on the puck and following its movement with a pencil or oil stick on a piece of paper on his lap. Both of these artists use the simplest of materials and the blind contour technique to make drawings that are conceptual strong, extremely interesting and beautiful.
Organized by the Organization of Saskatchewan Arts Councils OSAC
September 1 to 23, 2012
Twyla Exner is interested in the relationships between cultural and natural production, consumption and waste, high and low technology, and biological and mechanical growth. Exner’s sculptures and drawings employ the notion of recreating the natural with the technological. Using wires, cords, and electrical connectors, she imitates plant pods, root systems and human physiological forms, reproducing hybrids of technology and nature that appear to be growing, evolving, reforming, overtaking and/or devouring electronic infrastructures and architectural spaces.
Organized by the Organization of Saskatchewan Arts Councils OSAC
April to September 2013
Can you tell the true artifact from the fake...?
This interactive exhibition presents 115 real and fake objects that run the gamut from historical specimens and cultural artifacts, to household items and designer name brands.
Traveling from the Royal Ontario Museum ROM
All dates may be subject to change.
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