Visual Arts News from the Vancouver Art Gallery Library October 23, 2013


This Week Highlights the photographs of Desiree Palmen, the opening of the Charles Edenshaw exhibition at the Vancouver Art Gallery and the Wrong Wave festival, also at the Vancouver Art Gallery. Vancouver Sun, October 23, 2013

Mexico beyond Frida and Diego Museum of Anthropology’s latest show explores country’s rich, vital movement. Museum of Anthropology’s (MOA) latest show The Marvellous Real: Art from Mexico 1926-2011, which opens Saturday and runs until March 2014. “If you have too many Fridas and too many Diegos, people forget about the rest of Mexican art,” MOA director Anthony Shelton said. The Province, October 23, 2013


City approves 10-year deal plus $30K in extra funding Nanaimo Art Gallery has received city backing for an ambitious three-phase plan to consolidate and expand its operations at 150 Commercial St. in the downtown core. Nanaimo Daily News, October 23, 2013


Q&A: Melanie Gilligan on Commerce, Climate … – Canadian Art As the world’s financial system was grinding to a halt in 2008, Canadian artist Melanie Gilligan’s practice was gaining momentum; her artistic research into capitalism and its effects became urgent as the world plunged into its worst financial crisis (some say) since the Great Depression. Originally from Toronto, Gilligan divides her time between London and New York—two of the world’s financial and art centres. She has been shortlisted for this year’s Max Mara Art Prize for Women and is also part of “Carbon 14: Climate is Culture,” just opened at the Royal Ontario Museum. Canadian Art, October 23, 2013


Burtynsky looks at the world of water His latest documentary film WATERMARK, which he co-directed with Jennifer Baichwal, makes its Waterloo Region debut Oct. 24 at the Princess Twin Cinemas. Waterloo Regional Record, October 23, 2013

Washington D.C.

Damage Control: Art and Destruction since 1950, from Thursday, 24 October in Washington, DC The exhibition “Damage Control: Art and Destruction Since 1950” at the Hirshhorn Museum may become a victim of its own success. To enter the show, visitors must walk through Chris Burden’s ­installation Samson, 1985, a turnstile linked to a 100-tonne jack and two wooden beams pushed against the walls. The Art Newspaper, October 22, 2013


Have A Look At The Finalists For The 2013 Turner Prize Visitors to the finalists’ show in Derry “can attend a Mad Hatter’s tea party with Laure Prouvost’s grandparents, be accosted by strangers to discuss the free market thanks to Tino Sehgal, see Lynette Yiadom-Boakye’s made-up portraits, and join the world’s daftest life-drawing class hosted by David Shrigley.” The Guardian (UK) October 22, 2013 (slide show)

American Pop artist makes major gift to British Museum Several hundred prints by Jim Dine will come to the London institution early next year. The Art Newspaper, October 23, 2013

London park that lost its Hepworth to gain new sculpture Conrad Shawcross commissioned to fill void left by thieves in Dulwich Park. The Art Newspaper, October 23, 2013


Paris Art Fair Celebrates Its 40th FIAC, the French capital’s annual contemporary art fair, continues to distinguish itself with a strong French presence, but it also plays host this year to a bigger number of international galleries. New York Times, October 23, 2013

In Paris, a Contemporary View of Confinement The exhibition “À Triple Tour” in Paris brings together 50 artworks owned by the billionaire collector François Pinault and explores the themes of confinement and imprisonment. New York Times, October 23, 2013


Ancient physician’s tomb discovered in Egypt New find made despite continued attacks on archaeological sites by organised gangs. The Art Newspaper, October 23, 2013


One Family, 50 Years of Service to Indian Art Shireen Gandhy has kept alive and expanded her family’s edgy gallery in Mumbai, Chemould Prescott Road. New York Times, October 23, 2013

Wuhan, China

Line by Line, the Artist Luo Ying Alters Chinese Tradition Luo Ying says she wants to develop China’s classical painting tradition with her innovative line that raises questions about the genre. Some scholars say she’s overturning tradition instead. New York Times, October 22, 2013

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