This spring, three Canadian women artists got together at the National Gallery of Canada for an informal public conversation in support of the Canadian Photography Institute exhibition Photography in Canada: 1960–2000, now on view in the CPI galleries at the NGC. In a discussion led by exhibition curator Andrea Kunard, Sorel Cohen, Suzy Lake and Susan McEachern talked about their individual art practices and works.
In this interview, Greg Hill, Audain Senior Curator of Indigenous Art, talks about the importance of Carl Beam's Voyage and how it fits within the narrative in Canadian and Indigenous Art: 1968 to Present.
Through the spring and summer, the National Gallery of Canada is taking a closer look at the work of two established Canadian artists, who are also father and son, in Related Works: Ron Moppett and Damian Moppett. The exhibition examines convergences and departures in the production of each, while also reflecting upon how a collection is built through purchases, donations from patrons, and gifts from artists themselves.
Just in time for all things spring, the National Gallery of Canada’s contemporary Canadian galleries have been refreshed and reconfigured, and are now open once again. Canadian and Indigenous Art: 1968 to Present picks up where the new Canadian and Indigenous Galleries (opening on June 15, 2017) leave off. Featuring some of the most compelling homegrown contemporary art of the past fifty years, the exhibition includes many household names, as well as a few surprises.
In the exhibition PhotoLab 2: Women Speaking Art, now on view at the Canadian Photography Institute of the National Gallery of Canada, the work of nine women artists from the 1970s through the 1990s explores a wide range of issues and concerns, from highly personal events to identity politics.
Visitors to Gallery C207 at the National Gallery of Canada will find themselves surrounded by seven landscapes evoking Venice during the Grand Tour. Among these, two paintings by Canaletto and three by Guardi depict the squares, canals and palaces of Venice in the halcyon days before Europe changed forever.
Photography in Canada: 1960–2000 includes more than 100 images drawn from the Canadian Museum of Contemporary Photography and the National Gallery of Canada collections that are now a part of the Canadian Photography Institute. These works explore the interests, concerns and preoccupations of seventy-one contemporary photographic artists over four decades.
Before he conceived of his iconic mountain forms, and before he ventured into abstract compositions, Lawren S. Harris (1885–1970) was inspired by the urban environment of Toronto. Indeed, Harris routinely painted urban scenes from the early 1910s and into the early 1920s. The National Gallery of Canada's new acquisition Billboard (Jazz) is an exceptional example from this seminal period in the artist’s career.
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