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Exhibitions


In this section, you will find
¤ 244 descriptions and
¤ 831 images organized into
¤   20 themes, referring to
¤ 616 artists and
¤   99 curators


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Exhibitions

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AlcuinThe Alcuin Society Awards for Excellence in Book Design
15 Nov 2017 – 15 Dec 2017
In 2016, The Alcuin Society held its 34th annual competition, The Alcuin Society Awards for Excellence in Book Design in Canada. The awards recognize exceptional merit in Canadian graphic design. The 43 winning books were selected out of 230 submitted, representing the work of designers from nine provinces and 98 publishers.

Mount Community Show Opening Reception 2015Annual Mount Community Show 2017
15 Nov 2017 – 10 Dec 2017
Mount Saint Vincent University students, staff, faculty, alumnae and their families are invited to display their creative work in this annual extravaganza. Entries include visual art, music, performance, poetry, craft, literature, basketry, beading and more!

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61 results
Ian Willms: We Shall See
2 Sep 2017 – 5 Nov 2017
Ian Willms father died after months of hospitalization and medical interventions due to a motorcycle accident. In {I}We Shall See{/I} Willms documents his father’s traumatic injuries and the details of daily hospital visits.
Ian Willms, Sister and I at the hospital 2014
Brenda Francis Pelkey: A Retrospective
22 Apr 2017 – 9 Jul 2017
The exhibition includes nine bodies of work by the nationally recognized photographic artist Brenda Francis Pelkey, dating from 1988 through 2015. Pelkey lives in Windsor and has made major photographic series in Ontario, Saskatchewan and rural Nova Scotia, where she has resided in the past.
Brenda Pelkey, Court, Cobourg 2005
How Do I Look?
11 Feb 2017 – 9 Apr 2017
This selection of artists’ self-portraits from the Mount Saint Vincent University Collection addresses both the experience of being looked at by others, and that of returning the gaze. As a corollary to their engagement with practices of looking and appearing, these self-portraits also tackle the frameworks of race, gender and sexuality.
James R. Shirley: Cape Breton Apocalypse
Kids these days
16 Jan 2016 – 13 Mar 2016
{I}Kids these days{/I} presents video, photography, and graphic works that draw from the fields of anthropology, psychology and sociology, to examine youth and youth cultures in the Canadian context. The artists document young people—their bodies, expressions, and movements—while investigating their tastes, thoughts, clothing styles, methods of communication, and leisure activities. The resulting artworks suggest an underlying desire on the part of the artists to capture the “essence” of youth or at least to affiliate themselves with the coveted values typically associated with this group: freedom, escape, authenticity, expressivity, creativity, and idealism. Artists: Jo-Anne Balcaen, Sarah Febbraro, Kerri Flannigan, Emmanuelle Léonard, Kyla Mallett, Helen Reed, Guillaume Simoneau, Althea Thauberger
Kyla Mallett, Your Pal Alicia from the Notes series, 2004 (light jet print).
“We are continually exposed to the flashbulb of death":
The Photographs of Allen Ginsberg (1953-1996)

29 Aug 2015 – 8 Nov 2015
Organized and circulated by the University of Toronto Art Centre and Justina M. Barnicke Gallery with the Thomas Fisher Rare Book Library. The exhibition comprises over 100 photographs taken by the legendary Beat poet and activist Allen Ginsberg, capturing his life, loves, and artistic community, including Jack Kerouac, William S. Burroughs, Neal Cassady, Peter Orlovsky and others of the Beat generation of writers, poets, and activists.
Allen Ginsberg, Neal Cassady and Natalie Jackson underneath movie marquee
Here you may see the best portrait that, later, I was able to make of him. Passages to Abstraction. Geneviève Cadieux
21 Mar 2015 – 17 May 2015
This exhibition encompasses 27 years of production by Canadian artist Geneviève Cadieux, who works primarily with photography and its associated techniques.
Geneviève Cadieux, Ravissement 1985 (detail)
Terms of Engagement: Averns, feldman-kiss, Stimson
18 Jan 2014 – 9 Mar 2014
The Canadian Forces Artists Program was founded in 2001, as an opportunity for artists to address the complex relationships between culture and conflict. {I}Terms of Engagement{/I} includes works by three “embedded” artists: Dick Averns (posted to the Middle East, 2009), nichola feldman-kiss (posted to Sudan, 2011) and Adrian Stimson (posted to Afghanistan, 2010). All of the artists work in lens-based media (photography and video) and sculpture. Stimson, a member of the Siksika (Blackfoot) Nation, incorporates traditional ceremonial materials, razor wire and painting in his installations
nichola feldman-kiss, after AfricaSo long farewell
August Sander: Objective Romantic
7 Sep 2013 – 20 Oct 2013
August Sander (1876-1964) counts among the great 20th-century photographers. Primarily known for his vast collective portrait of the German people, Sander also made superb photographs of landscapes and architectural subjects.
August Sander Secretary, West German Radio, Cologne
The Art Bank in the 21st Century
17 Aug 2013 – 10 Nov 2013
Founded in 1972, the Canada Council Art Bank purchases contemporary art and rents it to federal government offices. Among the aims of the Art Bank are the support of Canadian artists through purchases, broadening the audience for contemporary art, and representing the national visual imagination.
Kristin Bjornerud, Encounter with the Bear
Prospect 16: Declan O'Dowd
15 Dec 2012 – 3 Mar 2013
This is the sixteenth of the Prospect exhibitions, which introduce Nova Scotian artists in the early stages of their careers.
Declan O’Dowd, Garden 2: Cat and Chicken 2010
Suzy Lake: Political Poetics
25 Aug 2012 – 7 Oct 2012
Acknowledged by Cindy Sherman as a pioneer in feminist performance for the camera, Suzy Lake began to receive critical attention in the 1970s with works such as {I}Choreographed Puppets{/I} 1976.
Suzy Lake, Peonies and the Lido #7 (detail)
Ruth Cuthand: Back Talk (works 1983-2009)
14 Jan 2012 – 11 Mar 2012
The exhibition includes more than 30 drawings, paintings, beadworks and video by Saskatchewan Cree artist Ruth Cuthand.
Ruth Cuthand, Small Pox 2009
Rosalie Favell: Living Evidence
19 Nov 2011 – 19 Feb 2012
Living Evidence is Rosalie Favell’s first serial photographic self-portrait; it follows her earlier attempts to reclaim a First Nations identity by photographing aboriginal women. Truthful and brave, Living Evidence exhibits the appealing vulnerability that continues to characterize this artist’s photo-based work.
Rosalie Favell, Living Evidence_PH
Lisette Model: a Performance in Photography
8 Oct 2011 – 13 Nov 2011
The mid-20th-century photographer Lisette Model (1901-1983) is equally renowned for her shoot-and-run portraits of strangers and her mystification of her own life story. This selection of twenty vintage prints from the National Gallery of Canada will introduce Model’s work to Halifax in the context of the city-wide photographic festival, Photopolis.
Lisette Model Belmont Park, New York
Traffic: Conceptual Art in Canada 1965-1980
19 Mar 2011 – 8 May 2011
Organized around urban and regional centres of art production, this exhibition captures the exuberant ‘traffic‘ between them during the inaugural phase of conceptual art, one of the most transformative art movements of the late 20th century.
Gerald Ferguson, 1,000,000 Pennies
Scott Conarroe: By Rail
19 Jun 2010 – 1 Aug 2010
Conarroe is well known for his social landscapes of familiar places, which evoke romantic pictorial traditions while participating in contemporary photography’s critical discourse.
Scott Conarroe, Loop Canyon, Chicago IL 2007
For Example (Hirsch, MacCallum, Macdonald)
31 Oct 2009 – 13 Dec 2009
For Example (Hirsch, MacCallum, Macdonald) is the fourth and final instalment in a series curated by Micah Lexier specially for the MSVU Art Gallery mezzanine space.
Antonia Hirsch, Photographie Metrique
Susan Bozic: The Dating Portfolio
18 Jul 2009 – 4 Oct 2009
Vancouver-based photographer Susan Bozic has a background in photography and cinema. Posing in elaborately staged photographs, she satirizes the fantasy of “true romance” by casting herself in the ingenue role and a store window mannequin as the leading man.
Susan Bozic He let me pick the movie
Alter Ego: Anatomical Studies of a Natal Male by R.S. Pennee
4 Jul 2009 – 18 Oct 2009
For centuries artists have made studies of body parts—hands, feet, faces—that were later incorporated into larger works. In a nod to the Old Masters, the video-derived prints in Alter Ego are processed to resemble drawings.
Robert Pennee Study #15, 14 April 2008
For Example (Butler, Clark Espinal, Gerken)
14 Feb 2009 – 5 Apr 2009
For Example (Butler, Clark Espinal, Gerken) is the third instalment in a series curated by Micah Lexier specially for the MSVU Art Gallery mezzanine space. In keeping with the idea of the sample, each installation includes works by three artists in three separate, identical vitrines, highlighting the potential for individuality within a context of uniformity.
Vitrine Drawining For Example
ANTHEM: Perspectives on Home and Native Land
25 Aug 2008 – 5 Oct 2008
In this exhibition the following artists present their responses to forms of Canadian identity, nationhood and nationalism: KC Adams, Fastwurms, Cynthia Girard, Dana Inkster, Alisdair MacRae, Shirley Moorhouse and Eric Robertson.
KC Adams Cyborg Hybrid Niki
Donigan Cumming: Ex Votos
21 Jun 2008 – 10 Aug 2008
The internationally renowned, Montreal-based artist Donigan Cumming is known for his staged portraits of the aging, ill and socially assisted poor, in the form of photographs, videos and photographic collages.
Donigan Cumming Epilogue
Chemistry
29 Mar 2008 – 25 May 2008
Local artists Dan O’Neill and George Steeves recently made substantial donations to the University Collection. To showcase the new acquisitions while exploring affinities between the respective bodies of work, Chemistry presents fine photographic prints by Steeves, hand-pulled lithographs by O’Neill, and figurative sculpture lent by the Newfoundland ceramicist Reed Weir.
Dan O’Neill
For Example (Andrews, Goldman, Koenig)
5 Jan 2008 – 23 Mar 2008
In the second instalment of the For Example series, single works by three artists reveal stages of their respective production processes. Inspired by the idea of “The Thing Before The Thing”, the exhibition consists of preliminary drawings, animation cells, and contact sheets.
Stephen Andrews The Quick and the Dead 2004
George Steeves
28 Feb 2007 – 10 Apr 2007
In addition to his mastery of historical techniques and his exquisite printing, the Haligonian photographer George Steeves is known for an iconography “shot through with grotesque sexuality, reverence for emotional pain, and chilly black humour.”
E-minor No. 21 (GS & LH)
Roots & Shoots
15 Jul 2006 – 1 Oct 2006
This exhibition draws out tendencies that circulate among the artists of HRM and its environs, suggesting patterns of artistic affiliation as well as rifts.
Mathew Reichertz Untitled
Through Alberta Eyes
The Photographs of Orest Semchishen

25 May 2006 – 30 Jul 2006
Orest Semchishen was born in Mundare, Alberta, the grandson of Ukranian immigrants. As a retired radiologist, he photographed disappearing Albertan localities such as Pendryl, Entrance and Plamondon.
Orest Semchishen, Trapper’s Cabin near Entrance AB August 1981
Paperworks
8 Apr 2006 – 30 Jul 2006
In 2004, Eye Level Gallery commissioned Paperwork30– a limited edition of 25 boxed sets, each containing one original work by each of 20 Halifax-affiliated artists—to celebrate its thirtieth anniversary. MSVU acquired one set for its permanent collection.
Lucie Chan, Untitled 2004
This Land is Mime Land: Shelley Niro
23 Oct 2005 – 11 Dec 2005
Shelley Niro is a member of the Turtle clan of the Mohawk Nation, and a media artist renowned for her provocative humour. Each work in this exhibition is composed of three photographs mounted in an overmat perforated in a pattern reminiscent of traditional beadwork.
Shelley Niro, Love Me Tender
Prospect 10: Harbour Photographs by Scott Conarroe
3 Sep 2005 – 16 Oct 2005
Harbour 2005 is a series of colour photographs depicting mixed-use sites along the Halifax waterfront. Printed from large-format negatives, Conarroe’s consistently high vantage point, distorted colour and luminous skies transform these nondescript scenes, which could never appear in precisely this fashion to the naked eye.
Scott Conorroe, Harbour (Dealership) 2004
Free Sample
12 Mar 2005 – 24 Apr 2005
So who doesn’t like free samples? And what’s that got to do with art? Kelly Mark’s new exhibition, Free Sample, can help you figure that out.
Hamilton’s Who’s Gonna Tell Jesus Tehre’s no Santa Claus
The Found and Familiar
Snapshots in Contemporary Canadian Art

10 Apr 2004 – 5 Jun 2004
In the midst of a technological revolution, this exhibition acknowledges the power of the snapshot as well as its materiality, and marks a shift in our relationship to this most personal of objects.
Curreri: Untitled from The Bicycle Race
Above Ground: Mining Stories
6 Mar 2004 – 4 Apr 2004
Art-and-industry historian Rosemary Donegan presents life on Canada’s industrialized frontiers by means of community-based commercial photography.
Gushul: Street & McGillivray Creek Mine
Illuminations: Homemade
22 Oct 2003 – 30 Nov 2003
Haligonian Tonia Di Risio has been invited to contribute a Duratrans image derived from her existing series, Homemade.
Tonia Di Risio: Homemade
Blind Stairs
15 Mar 2003 – 4 May 2003
Including works dating from the early 1980s to the present, each artist in this exhibition incorporates traces of other persons (who may or may not be artists) in her production, thereby avoiding the tendency of solo retrospectives to separate artistic authorship from historical context.
Blind Stairs: Installation view
Optical Illusions
25 Jan 2003 – 8 Mar 2003
Assembled by Curatorial Assistant Renato Vitic, the art in this exhibition points to the instability of memory by associating it with the optical illusion.
Darci Mallon: Our Red Scarf
Shifting Sites
31 Aug 2002 – 13 Oct 2002
Challenging the classical role of the camera as a neutral recorder of reality, nine up-and-coming Canadian photographers use two subjects – the body and the land – to explore issues of identity, place, and memory.
Eugenie Shinkle: Slag heap
In Another Place, Part I
Lily Markiewicz: Promise II

6 Jul 2002 – 18 Aug 2002
This work incorporates photographs on light-sensitive paper, recorded sound, and video installed in a dimly lit space ...with the unflinching eye of the goldfish observing our every movement.
Lily Markiewicz: Promise II
Brenda Pelkey: Haunts
20 Oct 2001 – 21 Nov 2001
The exhibition is composed of large-format Ilfochrome prints, some grouped in panoramic assemblages, others incorporating cryptic text fragments that hint at tragedy.
Brenda Pelkey: Memento Mori
Indian Princesses & Cowgirls
Stereotypes from the Frontier

9 Sep 2000 – 15 Oct 2000
In this exhibition, popular images of specific female types from the "Wild West" reveal the structures of domination through which the West was won.
Unknown artist: Indian Princess
taboos, titillations & thrills
18 Mar 2000 – 25 Jun 2000
Together, by means of direct address and selective disclosure, these works reconfigured the gallery as a test site in the quest for intimacy.
Charlie Murphy: The Letter
Jim Shirley Returns
The Art of James R. Shirley

19 Feb 2000 – 16 Apr 2000
This retrospective, Shirley’s first major exhibition since his MSVU solo in 1977, includes approximately 50 monotypes and works in other media dating from the Nova Scotia years to the present.
James Shirley: Self-Portrait II
Imagining [an]Other Canada
Reconsidering images of nationalism in the Canadian landscape

8 Jan 2000 – 13 Feb 2000
This exhibition offers a contemporary critique of the proprietary nationalisms supported by 19th-century and Group of Seven landscape painting.
Janet Anderson: Oh
From the Background to the Foreground
The Photo Backdrop & Cultural Expression

16 Oct 1999 – 21 Nov 1999
Besides generating discussion around photographic portraiture, the vast exhibition, which was co-hosted by Dalhousie Art Gallery, explored relationships among the fields of art, photography, ethnography and vernacular representations.
Willis & Whitfield: By Any Means Necessary
Skinjobs
13 Aug 1999 – 3 Oct 1999
Skinjobs included works in various media by Canadian artists who confront societal norms by means of grotesque, uncanny and monstrous distortions.
Catherine Heard: Efflorescence
Camera Obscured
Photographic Documentation & the Public Museum

15 May 1999 – 18 Jul 1999
This exhibition is composed of 89 "behind-the-scenes" photographs selected from the archives of prominent museums, including the Louvre, the Royal Ontario Museum, the Victoria and Albert Museum, and the Art Institute of Chicago.
Charles Carpenter: ...Field Museum of Natural History
Fixations
6 Mar 1999 – 11 Apr 1999
Curatorial Assistant Robert Zingone curated this pairing of a video by David Askevold and a photo-text installation by Ellen Moffat.
Ellen Moffat: Line Break
The Convent Series
13 Feb 1999 – 21 Mar 1999
Clara Gutsche's austerely beautiful photographs document an aspect of Québec society that is rapidly disappearing: its communities of religious women.
Clara Gutsche: The Convent Series
Style Council
15 Jan 1999 – 7 Feb 1999
The term "style" has been displaced in the art lexicon by phrases such as "signifying practice." Yet distinctiveness, elegance, even perversity of expression continue to enjoy a lively currency in the art world.
Style Council
Winter Gardens
9 Jan 1999 – 21 Feb 1999
The exhibition presented 30 of the colour photographs resulting from Charlotte Lindgren's Winter 1995-96 train journey, during which she photographed private and public gardens at each stop.
Charlotte Lindgren: St. Andrews, NB
1,000,000 Grapes
24 Oct 1998 – 22 Nov 1998
Ferguson's work is composed of 100 square, stretched canvases stencilled in black with an irregular, dot-like motif (or 10,000 "grapes"), installed in a closely spaced grid.
Gerald Ferguson: 1,000,000 Grapes
Notification 1
24 Oct 1998 – 13 Dec 1998
Ninety-six colour photographs of the backs of envelopes used for the mailing of death notices in France in the late 19th and early 20th centuries.
Arnaud Maggs: Notification 1
Language & Land Use, Newfoundland 1994
13 Sep 1998 – 11 Oct 1998
A series of 13 photo-assemblages combining text, photographs and natural objects by the St. John’s-based artist focuses on signs in public recreational areas in Newfoundland.
Marlene Creates: The City of St. John`s By-Law Forbids...
Three Hundred and Sixty-Five Pictures
10 Jan 1998 – 8 Mar 1998
This exhibition comprised hand-rendered images derived from photographs, whose cumulative effect of authenticity may be traced to the camera's legacy of truth-telling and the autographic mark associated with painting.
Stephen Andrews: Crosswords
Digital Garden
24 May 1997 – 27 Jul 1997
An installation composed of a video projection and laser-printed photographs depicting Eastern Canadian butterflies and the plant species on which they depend.
Mike MacDonald: Butterfly Garden
Extended Objects
29 Mar 1997 – 2 Jun 1997
this exhibition staged the residue of artists' performances — once-mobile objects that reveal themselves in the mind of the beholder as other than what they are known empirically to be.
Michael Fernandes: Ghost
My Friend Told Me That I Had Carried Too Many Stones
18 Jan 1997 – 16 Mar 1997
Suzy Lake's small constructions in plaster and photo-collage incorporated photographs of herself performing apparently mundane gestures.
Suzy Lake: Untitled #12
Action/Performance & the Photograph
11 Jan 1997 – 9 Feb 1997
The images resulting of conceptual and body art events of the 1960s and 1970s were often orchestrated by artists specifically for the camera. Some became documents; others, art objects.
Yves Klein: Leap into the Void
Comme les jours précédents, les géographies du transitoire
21 Sep 1996 – 3 Nov 1996
By accentuating MSVU Art Gallery's resemblance to a port shed, this installation by sisters Suzanne and Claire Paquet prompted viewers to experience it as scene rather than place.
Claire and Suzanne Paquet: Comme les jours précédents
Carole Condé and Karl Beveridge
Non Sera Nada Por Ninguen

29 May 1996 – 7 Sep 1996
Using actors, props and painted sets, the staged photography by these two artists projects labour issues through the codes of commercial culture.
Condé & Beveridge: No Immediate Threat
Living Evidence
15 Oct 1994 – 4 Dec 1994
Rosalie Favell's project, which consists of a suite of inscribed and altered Polaroid enlargements, revises the family snapshot genre to accommodate a fractured tale of troubled love between herself and another indigenous woman.
Rosalie Favell, Living Evidence


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