News & Updates
UPCOMING (Fall): Canadian Biennial, National Gallery of Canada; Why Can't Minimal? Curated by John G Hampton, Justina M Barnike; Fall solo exhibition at Galerie Hugues Charbonneau; Artist in Residence, Artscape Gibratar Point; Canadian Art Foundation Auction; and Art with Heart, Casey House Auction.
CURRENT: Canadian Art Magazine Spring 2014
Cover feature by senior contributing editor Nancy Tousley
Is What You See Really What You See: Tammi Campbell's Dialogue With Modernism
Canadian Art Feature (online): Tammi Campbell's Studio Troubles Sask-Modern Legacy
Tammi Campbell’s Studio Troubles Sask-Modern Legacy
APRIL 2014: Echo 1: Benoit Aquin, Tammi Campbell, Alain Paiement, Jonathan Plante, Jean Benoit Pouliot, Seripop, Eve K Tremblay et Julie Trudel
Galerie Hugues Charbonneau, Montreal
19 April to 24 May 2014
APRIL 2014: PAPIER 14 with Galerie Hugues Charbonneau
April 25 to 27, 2014
VIP April 24 6 pm
APRIL 2014: Creative Saskatchewan
Awarded Market Travel Grant/Culture on the Go to travel to Montreal for Papier 14 and Echo 1 at Galerie Hugues Charbonneau
APRIL 2014: C Magazine 10th Annual Benefit Auction
April 6, 6 pm
April 5, 10 am to 6 pm
Division Gallery, Toronto, ON.
C Magazine is an international contemporary art quarterly devoted to promoting critical discussion through essays, interviews, reviews, artist projects and public education. Based in Toronto, with contributors from around the world, C keeps its readers informed of significant ideas and trends in contemporary art and culture. C Magazine is published by C The Visual Arts Foundation, a registered charitable organization established to present ideas, advance education and document contemporary visual art and artist culture.
March 2014: Soi Fischer Thematic Residency at Artscape Gibraltar Point, Toronto Island.
The Thematic Residency Program offers artists the opportunity to work independently with the mentorship of a visiting professional artist, curator or critic working in international contemporary art. For two weeks every month artists retreat to Artscape Gibraltar Point on Toronto Islands, which provides short-term accommodation and studio space for artists to research and develop their contemporary art practice. Thematic residencies explore various models including studio work, formal lectures, group discussion, peer collaboration and outdoor retreats. This direction allows individual residents to find common ground amongst each other’s disparate practices and establish new connections through communal dialogue.
Unfaithful Remake: Tammi Campbell
Program Dates: March 10 - 24, 2014
Application Deadline: February 7, 2014
How do we reconcile the past with the present, the original and the copy? The remake, the replica, the re-imagined, and the repositioned offer what artist Sherrie Levine thought of as the aura of originality. "Are these [works] more original? I don't know. What I continue to be interested in is what it means to be original. It's not that I don't think there is such a thing as originality. I'm interested in sameness. What does it mean for two things to be identical, or not."
Unfaithful Remake will mimic the broken telephone game as its structure, in which we explore messages that have passed through a group of people. It is assumed that errors accumulate in retellings, and during our residency we will explore contemporary notions of authorship, with a focus on context, pastiche, appropriation and more in an attempt to consider what originality means, and see if a statement announced by the last resident to hear it differs significantly from the one uttered by the first.
FEBRUARY 2014: National Gallery of Canada Acquisition
NGC acquired a month's-worth of Dear Agnes letter/drawings and two paintings from the Work in Progress series.
JANUARY 2014: Virtual Museums of Canada
The Painting Projet : A Snapshot of Painting in Canada
Curation: Julie Bélisle Direction : Louise Déry
Launch : January 9, 2014, 5:30 pm
Virtual exhibition realised by the Galerie de l'UQAM in partnership with the Virtual Museum of Canada and in collaboration with UQAM's Audiovisual and Multimedia Production Service.
Artists : Melanie Authier (ON), Mike Bayne (ON), Hugo Bergeron (QC), Simon Bilodeau (QC), Jack Bishop (NE), Jérôme Bouchard (QC), Marie-Claude Bouthillier (QC), Anthony Burnham (QC), Sarah Cale (ON), Arabella Campbell (BC), Tammi Campbell (SK), Thomas Chisholm (BC), Louis-Philippe Côté (QC), DaveandJenn (AB), Pierre Dorion (QC), Kim Dorland (ON), Mario Doucette (NB), Michael Dumontier & Neil Farber (MB), Pierre Durette (QC), Dorian FitzGerald (ON), Graham Gillmore (BC), Cynthia Girard (QC), Sky Glabush (ON), Kym Greeley (TN), Clint Griffin (ON), Dil Hildebrand (QC), Jeremy Hof (BC), Daniel Hutchinson (ON), Chris Kline (QC), Wanda Koop (MB), Jessica Korderas (NE), François Lacasse (QC), Gwenessa Lam (BC), Stéphane La Rue (QC), Jean-François Lauda (QC), Maclean (QC), Norma Jean MacLean (IPE), Christine Major (QC), Elizabeth McIntosh (BC), Jason McLean (ON), Sandra Meigs (BC), Michael Merrill (QC), Chris Millar (AB), Kent Monkman (ON), Tim Moore (SK), Shaun Morin (MB), Andrea Mortson (NB), Wil Murray (AB), Paul P. (ON), Brad Phillips (ON), Ben Reeves (BC), Francine Savard QC), Justin Stephens (QC), Beth Stuart (ON), Team Macho (ON), Joseph Tisiga (YK), Ehryn Torrell (NE), Julie Trudel (QC), Carol Wainio (ON), Janet Werner (QC)
NOVEMBER 2013: Fool Me Twice, Dunlop Art Gallery (Central Gallery), SK
November 15 - January 19, 2014
Organized by the Dunlop Art Gallery
November 15, 2013 - January 19, 2014
Curated by Blair Fornwald
An essay about the exhibition authored by Jeff Nye is included in DAG Volumes #2, now available through the Dunlop Art Gallery
The artists in Fool Me Twice use the technique of tromp l'eoil - "fooling the eye." Tammi Campbell's Work in Progress resembles partially completed hard line abstractions, marked with pencil lines and painter's tape. Each piece of peeling tape and each tenuous pencil mark, however, is convincingly fabricated with acrylic paint - the viewer is looking at a completed painting. Campbell's work underscores the decision-making processes that determine when a work in progress is ascribed the higher status of "art."
A comparable dialogue is present in Marc Courtemanche's sculptural works - chairs, stools, and woodworking tools are meticulously crafted from carved clay, and still life subjects like apples and bananas are cast from layer upon layer of poured paint. Without a framing device claiming these convincing facsimiles as art, they would slip quietly into the everyday. By undermining visual assumptions, both artists ask pertinent philosophical questions about what it means to state the Duchampian declarative: "this is art." - Blair Fornwald, curator
SEPTEMBER 2013: They Made a Day Be A Day Here at the Mendel Art Gallery, SK
September 27-January 5
They made a day be a day here.
They made a day be a day here.
They made a day be a day here by
a year by a year yearly they made a
day be a day here by the year.
— Gertrude Stein, How to Write, 1931
Between 2007 and 2011, I traveled across the provinces of Alberta, Saskatchewan, and Manitoba searching for and writing about contemporary art. My travels were not linear, as if drawing a line from left to right or right to left across the middle of Canada. If my travels were to be traced, they would be lines jutting and dotting from one direction to another, looping and curling with no apparent logic. This is how I wandered, with no apparent logic, as a density of this kind holds no logic. I wandered across the flatness until, — to my astonishment —the flatness only got flatter.
They say writing must begin somewhere before it ends. My writing began long before my travelling started, but together they formed a sense of identity from this place. Right now, my writing continues as my travels across the flatness slow down, and it is in the gap between these two understandings that this exhibition arises.
I lived across these provinces, this place commonly referred to as “the Prairies.” I will always be informed by this time: not just informed by learned facts and tricks like how to properly put out a fire (by stirring as well as dousing) or drive against the big red sun (with faith), but informed in my perceptual foundations from how I see to how I walk.
I have always believed that you can never truly know a place until you walk it. Each step taken is an interaction between a place and your senses, but this is only half the story. My looping, jutting travelling brought me into hundreds of homes, studios, and exhibition spaces. I have had the pleasure of countless and assorted conversations, coffees and teas, and crackers with cubed cheese. We were all isolated geographically and perhaps politically, but we each held a space, and together we made a place.
The place was here, not there, and I was finally starting to understand how they made a day be a day here…
— Amy Fung, Guest Curator
NOVEMBER 2013: I have works in the Esse art+opinions auction
November 21, 2013 in Montreal, QC
VENDU—SOLD ENCAN-BÉNÉFICE — BENEFIT AUCTION
LES ÉDITIONS ESSE
OCTOBER 2013: Art Toronto
Galerie Hugues Charbonneau October 25-28
Travel to Art Toronto was generously supported by Creative Saskatchewan through its Market Travel Grant Program.
OCTOBER 2013: I received a Paved Arts member production funding to produce a sound recording based on John Cage's 4'33" and his visit to Emma Lake, Saskatchewan. A limited series of site recordings will be released on vinyl in late-spring 2014.
PAVED Arts is a non-profit, community-based organization based in Saskatoon, Saskatchewan that exists to advance knowledge and practices in what we call the ‘PAVED Arts’ arts: photography, audio, video, electronic and digital. Paved assists artists and independent producers make and exhibit their work.
SEPTEMBER 2013: Slow Read, Columbia College, Chicago, IL.
September 3 to November 2, 2013
Slow Read presents the work of five Chicago painters alongside collections of books curated by each artist. The selected books, which range from Roberto Bolaño’s biographies of imaginary Pan-American authors to Anaïs Nin’s diaries, offer unique points of access to the complex and subtle abstract work in the exhibition. Installed amongst the work these curated libraries also offer moments of respite, slowing down the viewer’s experience and allowing them the time to absorb the complexities of the paintings and drawings on display.
As part of Slow Read, the artists will work with the Center for Book and Paper Arts on the production of a limited edition artist book that will be available during the exhibition.
Artist Nazafarin Lotfi selected my one-of-a-kind handmade book of letters to Agnes Martin for her bookshelf.
JULY 2013: point, ligne, plan, point, ligne, plan, point, ligne, plan
Galerie Hugues Charbonneau
July 6 - August 8, 2013
Opening July 6, 3-5 pm
Peinture Extrême: http://www.peintureextreme.com/
Peinture, entre l’essence et l’excès by Jérôme Delgado, Le Devoir,13 juillet 2013: http://www.ledevoir.com/culture/arts-visuels/382721/peinture-entre-l-essence-et-l-exces
Galerie Hugues Charbonneau - Point Ligne Plan by Khoba Sysavane, Belgo Report, July 7, 2013: http://www.thebelgoreport.com/2013/07/galerie-hugues-charbonneau-point-ligne-plan/
JUNE 2013: The Thick Of It: Works by Eric Cameron, Tammi Campbell, Monique Mouton, Lisa Muzzin, Sasha Pierce, Josh Thorpe, and John Baldessari
Curated by York Lethbridge
June 28 - August 4, 2013
The Thick Of It brings together work by seven artists that balances process and the material concerns of painting, not as a discrete medium, but as a starting point with outcomes that blur disciplinary boundaries. Works here posit painting as a meditative or mundane activity, and painting as objects created with specific conceptual intentions or propositions. Instead of being apprehensive about disciplinary baggage, the artists represented here borrow from a range of painterly methods that yield diverse and intriguing products – distillates of studied experimentation.
JUNE 2013: They Made A Day Be A Day Here
Curated by Amy Fung
Art Gallery of Grande Prairie, Grande Prairie, AB
June 7 - August 25, 2013
Spanning five years and over four hundred posts later, the founder and author of Prairie Artsters has organized a pan-prairie exhibition of contemporary artists. Featuring a line up of Amalie Atkins (Saskatoon, SK), Heather Benning (Rural Saskatchewan/Nokomis, SK), Jennifer Bowes (Grande Prairie, AB/Dawson Creek, BC), Tammi Campbell (Saskatoon, SK), Brenda Draney (Edmonton/Slave Lake, AB), Sarah Anne Johnson (Winnipeg, MB), Wednesday Lupypciw (Calgary, AB), Maria Madacky (Coaldale, AB), Mary-Anne McTrowe (Lethbridge, AB), Divya Mehra (Winnipeg, MB), Jennifer Stillwell (Winnipeg, MB/Victoria, BC), and Leesa Streifler (Regina, SK), They Made A Day Be A Day Here focuses on new works that explore the shifting identities of artists living and working in the Canadian prairies. The artists in this exhibition are largely born after 1970 and focus has been given to the wry reflections of invisibility in artistic labour production. The works assembled together for They Made A Day Be A Day Here are addressing issues of time, labour, place, and identity through mediating histories of lineages and methodologies from craft to Modernism.
A catalogue with essays by Shawna Dempsey & Lorri Millan, Anthea Black & Nicole Burisch, and Joan Borsa with artist portraits by Amy Fung will be available in the Fall of 2013.
Mendel Art Gallery, Saskatoon, SK
September 2013 - January 5, 2014
School of Art Gallery, Winnipeg, MB
This exhibition has received generous support from The Alberta Creative Development Initiative Grant/Canada Council for the Arts as well as all partner institutions and their public and private support.
AGGP hosts two new exhibits by Dianne Rinne, Grande Prairie Daily Herald Tribune, Thursday, June 6, 2013: http://www.dailyheraldtribune.com/2013/06/06/aggp-hosts-two-new-exhibits
APRIL 2013: The Painting Project/Le Projet Peinture
Volet 1 / Part 1: 1er mai au 1er juin / May 1st to June 1st, 2013
Vernissage/Opening: 30 avril / April 30
Galerie de l’UQAM
The Painting Project proposes to delineate the practice of painting in Canada for a wide audience, based on exhaustive research in a didactic register and with a selection of 60 works by as many artists. The ambition of this initiative is to provide a broader view of painting in Canada by founding a “panorama in the making”, according to 4 sections: the figure of reality, emanating from the procedures of figuration, in line with the great painting traditions; fictional worlds, arising from figurative undertakings with content that is either symbolic—inspired by cartoons, comic strips, graphic novels, the media or commercial illustration—or 100 per cent computer-based; painting as the subject, where, by means of quotation, gesture and abstraction, “how to paint” becomes the subject matter; and, finally, hybrid practices, in which painting develops in osmosis with other art disciplines to produce object-paintings, writing-paintings and photograph-paintings.
Le Projet Peinture, qui réunit une soixantaine d’œuvres d’autant d’artistes, veut esquisser le pourtour de la pratique picturale au Canada pour un large auditoire, en appui sur une recherche extensive et avec une résonnance didactique affirmée. L’ambition consiste à offrir un « panorama en projet » de la peinture, selon un examen des catégories observables aujourd’hui. Elles sont au nombre de quatre et c’est par elles que s’articule la sélection : les « figures du réel » émanant de démarches attachées à la figuration et s’inscrivant dans la lignée des grandes traditions picturales ; les « univers de fiction » provenant de démarches figuratives à contenu soit symbolique, soit inspiré de la bande dessinée, des médias et de l’illustration ou soit de l’imagerie de synthèse; la « peinture comme sujet » où c’est le « comment peindre » qui est le sujet de l’œuvre soit par l’utilisation de la citation, par la gestualité ou par l’abstraction; finalement, les « pratiques hybrides » où la peinture se développe au contact des autres disciplines artistiques devenant ainsi une peinture-objet, une peinture-écriture ou une peinture-photographie. Commissaire/Curator: Julie Bélisle Commissaire générale/General curator: Louise Déry Avec la collaboration de / With the collaboration of: Marie-Eve Beaupré Production: Galerie de l’UQAM Catalogue: 340 pages, français et anglais / French and English
Essais de/Essays by : Louise Déry, Julie Bélisle, Robin Anthony, Nicolas Mavrikakis, Jonathan Shaughnessy
Commnaditaire principal / Major partner: Royal Bank of Canada Partenaires gouvernementaux / Government funding partners: Musée virtuel du Canada / Virtual Museum of Canada Ministère de la culture, des communications et de la condition feminine Conseil des arts du Canada / Canada Council for the Art Conseil des arts et des lettres du Québec.
La peinture en panorama, Le Devoir, Marie-Ève Charron, 22 juin 2013: http://www.ledevoir.com/culture/arts-visuels/381287/la-peinture-en-panorama
Canadian Art Magazine Slideshow: The Painting Project, June 27, 2013: http://www.canadianart.ca/see-it/2013/06/27/painting-project/
La Presse: Agenda Le Project Peinture/The Painting Project: http://www.lapresse.ca/agenda/09-32799-le-projet-peinture-the-painting-project.php
Le Projet Peinture, qui réunit une soixantaine d'oeuvres d'autant d'artistes, veut dresser le portrait global de la pratique picturale au Canada pour un large auditoire, en se basant sur une recherche extensive. L'ambition consiste à offrir un panorama de la peinture actuelle selon un examen des catégories observables suivantes : les figures du réel, les univers de fiction, la peinture comme sujet et les pratiques hybrides. Le projet est accompagné d'une importante publication et fait également l'objet d'une exposition virtuelle qui sera mise en ligne dès le printemps 2013.
Articchautmag, Lisa Tronca, le 2 juin 2013: http://artichautmag.com/le-projet-peinture-un-medium-a-lhonneur/
The Painting Project: A New Initiative on Canadian Painting Takes Shape by Louise Dery, Summer Issue 2012 of Canadian Art Magazine Pages 66-71. On newsstands 15 June to 15 September, 2012: http://www.canadianart.ca/features/2012/08/16/the-painting-project/
Despite the paradox of a rich art scene evolving in the near silence of a society scarcely conscious of art, "The Painting Project" seeks to maintain an equilibrium. The exhibition investigates the liveliness of the Canadian painting scene. It includes major artists (but not all of them) and little-known artists (though there could have been others). It demonstrates that to study painting produced in Canada is to allow a reflection of us to emerge, on that contributes to the forging identity.
The survey exhibition (Spring 2013, Montréal) includes works by 60 Canadian painters, including such artists as Arabella Campbell, Janet Werner, Michael Dumontier & Neil Faber, Tammi Campbell, Cynthia Girard, Stéphane La Rue, Chris Kline, Elizabeth Macintosh, Jason McLean, and Pierre Dorion.
The artist would like to thank the Saskatchewan Arts Board for providing a Travel Grant to attend the Painting Project opening and exhibition activities.
JANUARY 2013: Time has Stopped/Le temps s’est arrete: Benoit Aquin, Tammi Campbell, Karine Payette, Jonathan Plante. 12 January – 16 February, 2013 Galerie Hugues Charbonneau 372 Sainte-Catherine Ouest, espace 308 Montréal, Québec, Canada.
Le temps s’est arrete a la Galerie Hugues Charbonneau by Maude Lefebvre, Belgo Report Janurary, 2013: http://www.thebelgoreport.com/2013/01/le-temps-sest-arrete-a-la-galerie-hugues-charbonneau/
Belgo Report: Friday's Favorite Four by Bettina Forget, January 25, 2013: http://www.thebelgoreport.com/2013/01/fridays-favourite-four-88/
NOVEMBER 2012: The Decapitated Museum, Thematic Residency Banff Centre, Banff, Alberta November 13 - December 7, 2012 Faculty: Vincent Normand (FR) Guests: Etienne Chambaud (FR) Speaking for real: this isn’t a history painting, it’s a book of stories. A book being written with stories like the ones you get told when you’re getting your head chopped off—before going up there, or coming back from the show. Stories like they tell in museums. This residency is addressed to participants willing to engage in speculative inquiry on the matter of exhibition, whether they work as artists, curators, or writers. The moment of exhibition will act as a figure towards which converge diverse spaces of authority (the studio, the exhibition space, criticism). The residency will thus be structured in as many points of enunciation, with individual studio and research time, public talks, and collective discussions enhanced by screenings and reading sessions. The question of contemporary art exhibition is inevitably folded on the question of the present. This present is traditionally regarded as the site of a triangular relationship: a subject displays an object under museum lights so that this object meets the gaze of another subject. In the frame of this relationship, the object does not exist outside a scale of which the human eye is both the standard and the currency. We will work to enact a “pocket” reversal of this theatre of a phenomenological present. Our collective research will aim to circumscribe the notion of exhibition according to the terms of an archaeological operation: not a method of access, nor the trigger of a relationship, but an operation of recovery that is the evidence of an accumulation of hidden cuts, invisible deletions, and blind spots that disfigure the representation. The public talks, followed by group discussions and brought further with the contributions of guest faculty, will form chapters of an “underground history” of exhibition making, a counter-history of observation where “exhibiting” means “severing.” Through the close study of various critical concepts of exhibition (ranging from the invention of the Memory Theatre to contemporary zoos), we will try to retrieve the vertigo embedded in the event of exhibition: a story of non-human actions at the border of the present and on the fringes of perception. A history without victims or heroes, maybe even without us. This residency program is supported by the French Embassy in Canada and the Institut français.
OCTOBER 2012: I have been awarded a Professional Development Grant from the Access Copyright Foundation. The Access Copyright Foundation was developed to celebrate, encourage and promote Canadian culture. By encouraging creative talent, Canadian culture thrives both nationally and internationally. The Access Copyright Foundation promotes and supports Canadian culture by providing grants intended to encourage the development and dissemination of publishable Canadian works. The Foundation endeavours to make a modest but important contribution to the Canadian cultural community, while also broadening public awareness of the creative vitality of Canadian writers, visual artists and publishers.
OCTOBER 2012: Art on Paper: The 42nd Exhibition Oct 21, 2012 – Jan 13, 2013 Weatherspoon Art Museum, Greensboro, North Carolina curated by Xandra Eden. Art on Paper 2012 features regional, national and international artists who have produced significant works made on or of paper. Sixty-five artists were selected through submissions and by invitation. Since 1965, the Weatherspoon’s Art on Paper exhibition has charted a history of art through the rubric of one-of-a-kind works on paper. Since its inception, the commitment of xpedx (formerly the Dillard Paper Company) and The Dillard Fund has allowed the Weatherspoon to acquire works from each and every Art on Paper exhibition, resulting in the formation and tremendous growth of the Dillard Collection, which today numbers nearly 600 works. Acquisitions have included work by some of art’s seminal practitioners, including Louise Bourgeois, Brice Marden, Joan Mitchell, Robert Smithson, Frank Stella and Eva Hesse.
SEPTEMBER 2012: 4 works from my Works in Progress series have been included in the permanent collection of the Musée d’art contemporain de Baie-Saint-Paul, Baie-Saint-Paul, Quebec.
AUGUST 2012: Je Fixes Vertigoes: Le 31e Symposium international d’art contemporain de Baie-Saint-Paul, Baie-Saint-Paul, Quebec 3 August - 2 September Curated by Serge Murphy
… I wrote down silences, nights, I wrote down that which could not be said. I stilled vertigoes.--Arthur Rimbaud, A Season in Hell.
An artist is always subject to a variety of vertigoes. He seeks equilibrium on the edge of what he perceives beyond his own being and on which he needs to shed light. Today’s art appropriates a wide range of characteristics relative to substance as well as to form. Artists develop simple or excessive ways to give a name to the world in which they live.
Essentially, the 30th anniversary of the International Symposium of Contemporary Art of Baie-Saint-Paul will highlight two antipodal attitudes, two different approaches to creation which are hallmarks of today’s art. To that end, the artists selected will be working at two opposite poles of today’s artistic practice. Pole one describes a practice which states sparse proposals. In this instance, vertigo refers to a certain concept of the vacuum and to the perception of this concept through works whose reading more or less points to universality by always emphasizing the notions of “less” and of “next to nothing”. Here, the experimentation and fabrication strategies are in full view and, often, present scant complexity. Proposals are then monochromic. They reach for the sublime, employ commonplace materials, or make use of primal manipulations that sometimes produce disarming results. The second pole is characterized by fullness, bushiness and overflow. Overflow is not the subject. Overflow, excess are the matrices for the work and give meaning to a vertigo where the eyes do not know where to set, because signs, materials, colours are everywhere and haphazardly assembled. The proposals are “generous”. They are beyond measure and calculation. They are often autobiographical and mainly expressionistic. They pull us into a universe, a cosmogony of intermingled signs where essentials appear everywhere and nowhere in particular. Baie-Saint-Paul’s International Symposium of Contemporary Art is a unique annual occurrence in contemporary art. For a whole month, artists are invited to create in front of an ever-larger public. The Symposium is the only professional event of its kind and it has become a prestigious reference in artistic circles. First held in 1982, the Symposium provides the public with an opportunity to get up close to the artist and to enjoy a visual art creation event as it observes a live production process. Historically centered on painting, the event has been exploring, in recent years, the links between painting and other art forms. Established artists work alongside emerging talents. This is a feature of the Symposium that will continue to be emphasized.
JUNE 2012: I have been awarded an Independent Artist Project Grant from the Saskatchewan Arts Board for a project starting in mid-2013. Two of the main goals of the Saskatchewan Arts Board are to nurture an environment in the province where the public has access to Saskatchewan artists and their work, and to ensure that the arts are valued and appreciated as an essential part of our lives.
JUNE 2012: Sincerely Yours 20 June to 1 July, 2012 Propeller Centre, Toronto, ON Curated by John Kissick. The kernel, the soul—let us go further and say the substance, the bulk, the actual valuable material of all human utterances—is plagiarism. -Jonathan Lethem "Ever wondered what an authentic experience felt like? You know—a feeling that you were reasonably sure was yours’ and yours’ alone; a gesture that didn’t inevitably collapse into a set of cliches; having an idea that didn’t already have a citation index attached to it; the premise that you, your thoughts and your actions were in any meaningful way unique? I keep thinking at some point in my past, I must have had an authentic feeling—but certainly not lately. For the most part, I--like most artists I know--have come to an uneasy peace about the whole thing, figuring that “mediation is me” and besides, authenticity is so twentieth-century. But I continue to be haunted by one particularly troubling aspect of this equation: if authenticity is now accepted in most quarters as a cultural construct rather that an existential truth, then how the hell do we recognize sincerity anymore. Or is sincerity, like its corollary authenticity, contingent on a world outside ourselves? And if so, what does it mean for individuals who produce work based on notions of intuition and self-expression? The exhibition has taken as its premise the idea that sincerity is a contested term in contemporary art practice. All of the artists chosen for the exhibition have in some way addressed the challenge of the authentic in a particular way, each coming to the problem with a specific critical strategy. A number of works in the show address a certain longing for a graspable authentic experience that seems somehow just out of reach. There are others for whom our thoroughly mediated world of experience is what constitutes the “new” authentic. Still others see authenticity as simply a social construction, and thus the act of addressing it in art is, at its core, ironic. Together, the works in this exhibition provide an intriguing snapshot into the challenge of being an artist--and in essence locating the self--in this complicated thing we call contemporary art." - John Kissick, Artist and Guest Curator.
JUNE 2012: Where It's At June 22 to September 16, 2012 Mendel Art Gallery Saskatoon, Saskatchewan Curated by Sandra Fraser Where It’s At is one of the larger exhibitions drawn from the Mendel Art Gallery’s permanent collection. These works reflect the energy and success of Saskatchewan: it is indeed the place to be. The Gallery is also thriving and growing, continuing to present innovative, relevant exhibitions and public programs, and building an outstanding permanent collection that reflects and inspires this community. These artworks have been selected from hundreds acquired in the last several years through purchase or donation. They include sculpture, mixed media, painting, photography and works on paper. Recent collecting activity reveals several emerging themes, although many works resist easy categorization. Images of the landscape address such considerations as history, settlement, adventure, technology and the picturesque. Figurative work ranges from portraiture, and the nature of human relationships, to explorations of the inner world of spirituality and superstition. Some works examine the formal and emotional concerns of abstraction through colour and form, while others reinsert imagery and critique into this contested field. Still others question assumptions around race, gender and difference. Not encyclopedic or even democratic, this is a collection of representations serving as lens, contemplation, provocation or record. It provides a forum for both individual and collective experience. Through these artworks, we contemplate threads of memory and imagine the future while navigating the present: Where It’s At. – Sandra Fraser, curator, Mendel Art Gallery. Among the artists are: Martin Bennett, Lori Blondeau, Tammi Campbell, Wally Dion, Jonathan Forrest, David Garneau, Angela Grauerholz, Lee Henderson, Arnaud Maggs, Clint Neufeld, Louise Noguchi, Brenda Pelkey, Ed Pien, Annie Pootoogook, Richard Prince, Adrian Stimson, and Monica Tap.
APRIL 2012: I have been awarded a Canada Council for the Arts Project Grant. I gratefully acknowledge the support of the Canada Council for the Arts, which last year invested $154 million to bring the arts to Canadians throughout the country. Je tiens à souligner le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 154 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.
The Painting Project/Projet Peinture From Canadian Art Online: "As 2012 dawns, thoughts inevitably turn to what’s next in the Canadian art scene, and there’s already a number of key events—both at home and abroad—that promise to make a major impact. Here’s a little bit of what we’re looking forward to: Co-produced by Montreal venues Arsenal and Galerie de l’UQAM, under the respective directorships of Jean-François Bélisle and Louise Déry, “An Appetite for Painting: Those of the Present” is a fall show (September 20 to December 19, 2012) that will constitute a significant examination of contemporary daubers throughout the country. Selections by curators Marie-Eve Beaupré and Julie Bélisle will cover a wide range of practitioners, including realist Mike Bayne, abstractionist Arabella Campbell, and dozens of others. The project, an undertaking five years in the making, will be shown in Arsenal’s vast, 20,000-square-foot main hall. - Canadian Art Magazine, Online Edition, January 4, 2012
JANUARY 2012: I have work in an exhibition at the Art Gallery of Regina, curated by Jack Anderson. After Life runs December 14, 2011 to January 27, 2012. Reception January 25, 2012. This exhibition explores contemporary beliefs about dying, death, and after death. The show features the work of nine artists who offer their personal explorations of various themes such as the cyclical patterns of nature, transcendence, the spirit body, heaven, existentialism, fatalism, rites of passage into the unknown and agnosticism: all possible outcomes of our embodied being after our final breath. Included are artists Tammi Campbell, Tamsin Clark, Jude Griebel, Jennifer McRorie, Christine Ramsay, Steve Rayner, Jean Somnor, John Will, and Sylvia Ziemann.
DECEMBER 2011: AKA Gallery, an artist-run centre in Saskatoon, Saskatchewan is holding a fundraising draw, I have donated one of my framed Dear Agnes letters to the End of the World art draw.
SEPTEMBER 2011: New American Paintings featured my project space at the (e)merge art fair in Washington, DC. Tammi Campbell‘s modest-scaled paintings on paper suggest the precision and process of taped geometrical shapes and patterning through seemingly unfinished works. Compositions are truncated with application of thin, semi-transparent acrylic, crafted to resemble masking and painters’ tape; the placement suggests a continuation of the grey-scale shapes below, while completing the pieces with a confrontation of maker’s technique. — Alex Ebstein, New American Paintings, 2011 The works are brainy meditations on the painting processes and its tools (hence her studio-like setup). Allegorically the works reference the materiality of the studio process, but physically they’re all about paint — what looks like tape is in fact acrylic media. — Matthew Smith, New American Paintings, 2011
AUGUST 2011: I will have an Artist Project Space at (e)merge art fair. (e)merge will take place September 22 - 25, 2011, in Washington, DC. The Fair will feature over 80 international galleries and nonprofits, as well as individual artist projects. Exhibition vetting committee: • Matthew Higgs, Director/Chief Curator, White Columns, New York, NY • Kristen Hileman, Curator, Baltimore Museum of Art, Baltimore, MD • Mera Rubell, Rubell Family Collection, Miami, FL and Washington, DC • Manuel de Santaren, collector, Boston, MA and Washington, DC • Nico Vascellari, artist, New York, NY and Vittorio Veneto, Italy • Yvonne Force Villareal, co-founder Art Production Fund, New York, NY. The (e)merge art fair celebrates galleries, artists, artists' work and the creative process. The Fair garners support from all corners of the artworld and aims to create an energetic environment of collaboration and discovery.
The Saskatchewan Foundation for the Arts will be auctioning off a donated piece from my Dear Agnes series. With the proceeds from the SFA Auction, the Foundation will create an endowment fund and interest earned on the endowment will be used for future awards to the arts and artists in our province. The Auction will be held November 10-12, Wascana Country Club, Regina.
JANUARY 2011: I have been awarded an Independent Artists Project Grant from the Saskatchewan Arts Board to create a new series of paintings. Did you know the Saskatchewan Arts Board was the first arts agency of its kind in North America?
OCTOBER 2010: I will be spending the month of October a the Banff Centre for an Artist Residency.
SEPTEMBER 2010: A work from my Hard-Edge series is up for grabs at the Gala Benefit and Auction for the Canadian Art Foundation. The event will be held on September 23 in Toronto at the Carlu.
AUGUST 2010: The Mendel Art Gallery has acquired a large work on canvas from my Big Attack series: All-Over, 2009. The work was purchased with the assistance of the Canada Council for the Arts.
I have a small postcard-sized work in the Going Postal 2010 Auction at the ICA, The Mall, London, UK.
JULY 2010: White Columns, NY has selected my work for their Curated Artist Registry. The registry is comprised of an online database of approximately 600 artists worldwide. The registry serves as a resource for curators, writers, and dealers - as well as a broader public - seeking the work of emerging and under-represented artists.
Works from my Hard-Edge series are in an exhibition ABC: Anything But Canvas at the Snowball Gallery in Toronto. The exhibition runs July 8 to 25, 2010.
APRIL 2010: I have been awarded a Grant from the Canada Council for the Arts through the Assistance to Visual Artists - Project grants program. I gratefully acknowledge the support of the Canada Council for the Arts which last year invested $17.1 million in visual arts throughout Canada.
MARCH 2010: Work from my Hard-edge series is now available through Paul Butler's Other Gallery. The gallery focuses on exposing under recognized and emerging Canadian talent to an international audience.
FEBRUARY 2010: Interested in a trade? Canadian Artist Paul Butler has created The Upper Trading Post website - a collectively determined, autonomous art economy where economic value is determined through the consensus of peers. It exists to facilitate connections and to create a network through which artists can trade their art. I have a few works up for trade on the site and have already arranged an exchange.
JANUARY 2010: A work from my Imperfection series has been included in a traveling exhibition coordinated by the Organization of Saskatchewan Arts Councils and supported the Saskatchewan Arts Board. The exhibition, Plains of Abstraction was curated by Jennifer McRorie of OSAC. In 2010 and 2011 the exhibition will tour to a number of Saskatchewan communities: Watrous Art & Cultural Centre, Watrous, Saskatchewan Chapel Gallery, North Battleford, Saskatchewan Prince Albert Arts Centre, Prince Albert, Saskatchewan Allie Griffin Art Gallery, Weyburn, Saskatchewan Last Mountain Lake Cultural Centre, Regina Beach, Saskatchewan Moose Jaw Cultural Centre, Moose Jaw, Saskatchewan Grand Coteau Heritage and Cultural Centre, Shaunavon, Saskatchewan Socoko Art Gallery and Studios, Bengough, Saskatchewan Barr Colony Heritage Cultural Centre, Llyodminster, Saskatchewan CJVR Performing Arts Theatre, Melfort, Saskatchewan Godfrey Dean Art Gallery, Yorkton, Saskatchewan Esterhazy & District Arts Council, Esterhazy, Saskatchewan Quill Plains Regional Arts Council, Wadena, Saskatchewan Humboldt Museum, Humboldt, Saskatchewan Station Arts Centre, Rosthern, Saskatchewan Melville Community Works, Melville, Saskatchewan Parkridge Centre, Saskatoon, Saskatchewan.
DECEMBER 2009: I am contributing a work to Mercer Union's annual Solid Gold Show & Sale. If you are in Toronto on December 17 be sure to stop in and pick up a work.
AUGUST 2009: I'm taking part in Plug In ICA's inaugural Summer School Residency in Winnipeg this August. Plug In Director, Anthony Kiendl, has developed a hybrid artist residency/art research/art school program for professional practicing artists. Guest arts professionals include Yann Chateigné Tytelman, France; Lotte Juul Petersen, Engand; and Donna Lynas, England.
I have been awarded a Travel Grant from the Saskatchewan Arts Board to attend a one month residency at Plug In ICA. Did you know the Saskatchewan Arts Board was the first arts agency of its kind in North America?