This exhibition celebrates the incredible legacy of Mary Riter Hamilton and marks the 100th anniversary of her journey to document the battlefields of Europe after WWI. Mary Riter Hamilton was a fearless, trailblazing artist who left a remarkable and moving wartime record for her Canadian countrymen.
Thanks to the artists who have shared their creativity, allowing us a window into their lives, struggles, and triumphs. I am indebted to Valerie Wood, Sharon Evans, and Dr. Mark Welch who planted the seed, without all of your trust and belief this exhibition would not have been possible. This exhibition also coincides with Mental Illness Awareness Week and we ask that you take this opportunity to check in with your friends and loved ones.
War is a strange story to tell, for its commonalities as a public narrative, its clichés, and paradoxically, the uniqueness of the individual's experience. This installation, Road to War, is designed to reflect the destabilization of perception in the war zone, the common experience, and the personal. It is an invitation to choose a war experience by embracing silence, ambient sound, or the mediated narrative of Steele's poetry as spoken by actors and voice-overs. The footage was shot from 2008-2009, in situ, at Suffield, Wainwright, Shilo, Kandahar Airfield, and Bulunday (Kandahar Province), outside the wire, with the First Battalion Princess Patricia’s Canadian Light Infantry and Task Force 3-09.
Champs des Visions/Fields of Vision/Blickfelder, is a 24 minute meditation on the consequence of landscape shot solely from the vantage of the ground upwards in the battlefields, the woods, the graveyards, and the monuments to the dead of the Great War in Northern France. It was filmed during 2014-2015 by the Canadian war artist Dr. Steele (Afghanistan Task-Force 3-09) and is intended to provoke thoughtfulness into the dangers and boredom of the deadly flat landscape of the Western Front. During the Great War most soldiers, when not in kinetic combat, stared for hours and days and months and years at the sky, often not seeing the dangerous horizon, except when utterly necessary.
Traces of War: Works from the Permanent Collection features works and ephemera created out of conflict from the Penticton Art Gallery's Permanent Collection, the Penticton Museum’s Collection, and various local collections exploring the art and legacy of war. Some of the artists included are: Michael Sandle, Jack Shadbolt, and Bettina Somers.
I always love the opportunity to dig into our permanent collection and explore the works we have and the richness of the stories they hold. Over the years we have had a number of works come our way through donations. In considering each donation and its value to the gallery, I felt that many of these works could better serve the gallery as a base for expanding the focus of our collection. This exhibition is the culmination of this process, which owes its presence to the generosity of many, and now for the first time we are afforded the opportunity to explore the sum of the parts. This is our first real opportunity to look at our collection critically and ascertain its strengths.
The title. “Pretty: Useful” hints at the language that we use to talk about plants. The artist asks how that use of language reflects our relationship to the plants themselves? Beautiful, useful, native, exotic, medicinal, noxious, aggressive, lucrative, rare, decorative, weedy, healing, ornamental.
Our discourses on vegetal life range widely from scientific classification, to political and economic standpoints. We are perhaps, so accustomed to seeing plants as a given part of our human environment, that we do not think about plants at all, and perhaps, they become mere backdrops in our busy lives? A decorative plant for the side board.
This exhibition’s inspiration came from the Tsilhqot'in First Nation's claim to aboriginal title over land to the south and west of Williams Lake in the B.C. Interior, as well as the 2014 Supreme Court of Canada's unanimous ruling stating that the Tsilhqot'in did have a claim to the region they had historically occupied. This was the first time the Supreme Court of Canada acknowledged that Aboriginal title exists, providing the Tsilhqot'in First Nation the right to choose how these lands will be used.
Since the first Meadowlark Nature Festival, presented by Okanagan Similkameen Conservation Alliance (OSCA) in 1998, Festival organizers have commissioned an original piece of art to use in the promotional material for the Festival. Throughout the years, the tradition has seen wildlife painters, a ceramicist, photographer and textile artist create a vast array of artwork all focusing on the Western Meadowlark. We are very pleased to have commissioned Alex Fong to create the artwork for the 22nd annual Festival taking place May 16 to 20, 2019. Special thanks to Jayme Friedt, this year’s Coordinator Meadowlark Nature Festival
Reciprocity is a mutual relationship between people involving the exchange of goods, services, favors, or obligations. In this case, the relationship is between the students, art teachers, the gallery, and First Things First Okanagan. Last year FTFO approached the gallery and schools with the idea of partnering to create a body of work about climate change. As a result, this year a section of the gallery will display art created along this theme.
In the South Okanagan we are lucky to have a dedicated group of individuals teaching our youth and taking up the task of informing our community of the consequences of climate change. It is important that this year’s major theme is to promote awareness and seek solutions for a better future.
This project pushes my boundaries in disclosure of experiences that are deeply personal but necessary to acknowledge for change to occur at a level that is meaningful for one’s existence in my community and my country. I believe many of the concepts I was exposed to while conducting community work as a cultural worker in the Okanagan are important to explore and to share. Those concepts are not from the Indigenous culture, but from my own. Through my role as a volunteer cultural worker, I realized I was afforded a unique opportunity to deconstruct, infer, and reassemble these experiences in order to critique, expand and empower other reconciliators. Throughout my Master’s degree I have come to understand the concentration and exploration of white privilege and relevant theories and frameworks are important for development of a greater Canadian cultural context of living.
“Light is the most powerful tool we have to create any feeling.” -Bentley Meeker
The Penticton Art Gallery is proud the present, Immaculate Refraction, the first solo exhibition in Canada by the New York City-based lighting artist Bentley Meeker. For over 30 years his practice has focused on the component properties of light, contrasting light sources and frequencies to create a specific range of subtle hues which he uses to illuminate his unique sculptural reliefs. By its very nature, the work encourages visitors to pause and consider the varying possibilities of light sources as well as their potential effects on the human psyche and how light might affect our shared humanity.
Building on our annual exhibition featuring the students of the Enowkin Centre we are pleased to introduce the work and art from an upcoming publication from Theytus Books: Mayabbekamneeboon by Dr. Jennifer Leason.
We are pleased to present the work of Melissa Shaginoff as the winner of the 2018 Toni Onley Artists’ Project Exhibition at the Penticton Art Gallery.
Jean Settle, born in Vernon, B.C., was truly a self-taught artist, expressing her emotional response to the natural world, from evocative and moody, to dramatic, semi-abstract portraits of horses. The series will draw the observer into a wordless, timeless legend.
On display in the Project Room.
On display in the Toni Onley Gallery.
On display in the Toni Onley Gallery.
On display in the Project Room.
Our annual exhibition showcasing the talent from the art departments of Penticton Secondary School, Princess Margaret Secondary School and Summerland Secondary School.
Our spring exhibition exploring themes of gender and sexual diversity. Featuring guest curator Tobaron Waxman (Toronto) who has curated the installation of works by James Diamond (Montreal), Jade Yumang (Vancouver/New York) and Syrus Marcus Ware (Toronto). Also featuring A Raven Called Crow (Victoria), JJ Levine (Montreal), LyleX0X (Vancouver), Hamed H. (Istanbul via Kabul, Afghanistan), Ali M (Kabul, Afghanistan), and Patrick Kearns (Vancouver).
In the Main Gallery
Featuring the work of Alan Wood, Lincoln Clarkes and Brad McMurray.