Page 9 - Vancouver Art Gallery 2014
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Interior_Annual Report 14-10-24 4:50 PM Page 7

2013|14 EXHIBITIONS IN REVIEW Our fall 2013 season opened with KIMSOOJA:

Unfolding , the first retrospective to assess the thirty-year career of this Korea-born, New York–
based artist. Comprising a vast range of work in varying scales and media, the exhibition
addressed notions of time, memory and displacement. Following shortly thereafter was the
significant Charles Edenshaw exhibition, the first major survey of the artist’s work. Featuring
the full range of objects that he produced, it was a once-in-a-lifetime opportunity to engage

with over 200 works by this Northwest Coast master, who was recognized in his time as an
exceptional Haida artist and remains an iconic figure today. The fall program included a third
career survey, Muntadas: Entre/Between , which mapped over forty years of artistic production
by conceptual and media art pioneer Muntadas.

Contemporary Haida carver James Hart had his remarkable The Dance Screen (The Scream
Too) on view, which was featured alongside Emily Carr in Haida Gwaii , a series of works Carr
produced after trips to Haida Gwaii in 1912 and 1928. The Gallery also presented Emily Carr:
Deep Forest , a selection of works from the permanent collection that acknowledged Carr’s
affinity for and iconic representations of British Columbia’s majestic forests.

In spring 2014 A Terrible Beauty: Edward Burtynsky featured works from all key bodies of
work by this internationally acclaimed artist, including selections from his latest project on
the subject of water. This was complemented by Scorned: Emily Carr , a selection of permanent
collection works and select loans that underscored Carr’s shared concern for the denatured

landscape. Myfanwy MacLeod, or There and Back Again focused on new works produced speci-
fically for the exhibition, in which the sexually charged music of Led Zeppelin and the writing
of J.R.R. Tolkien are key references. Interwoven with this exhibition was Artist’s Choice: Cock
and Bull , co-curated by the Vancouver-based MacLeod and the Gallery’s curator Grant Arnold,
which engaged with imbalances of power in the art world.

Lawren Harris: Canadian Visionary traced the artist’s development from the early twentieth
century to the mid-1960s, illustrating his move from representational art to abstraction, and
was followed by Out of Sight: New Acquisitions , which showcased a selection of works that have
been added, through donation or purchase, to the Gallery’s permanent collection over the past

three years. Prompted by the recent donation of eighty-one photographs by Harold Edgerton,
the exhibition explored ideas of perception and representation.
Summer 2014 provided a dramatic close to the year’s programs. Douglas Coupland: everywhere
is anywhere is anything is everything , the first major survey of the artist’s visual art, highlighted

OPPOSITE: Douglas Coupland, Brilliant Information Overload Pop Head , 2010, acrylic and epoxy on pigment print, Collection of Lucia
Haugen Lundin

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