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.
Years ago, when the National Gallery of Canada was located in the former Lorne Building at 90 Elgin Street in Ottawa, one of its most popular “storefront” draws was a display of Nancy Graves’ Camel VI, Camel VII and Camel VIII (1968–1969). Now on view once again, this trio of life-sized camel sculptures is enthralling audiences in an installation at the NGC.
Originally presented at the National Gallery of Canada in 2015, Clocks for Seeing: Photography, Time and Motion is now on view at the Art Gallery of Alberta. This compelling exhibition features works drawn entirely from the collection of the Canadian Photography Institute of the NGC.
Fireworks, balls, hunting parties, concerts and theatre. In an exhibition now on view at the Château de Versailles, just outside of Paris, the pleasures of the courts of Louis XIV, Louis XV and Louis XVI are explored through a series of objects, paintings, works on paper, evocative environments and audiovisual elements. One of the works in Festivities and Entertainment at Court is on loan from the National Gallery of Canada.
Brian Jungen’s Shapeshifter (2000) and Vienna (2003) are currently on view together at the NGC. Although both works are part of the national collection, such is their size — at 6.6 metres (21 feet) and 8.5 metres (28 feet) respectively — that they are not often displayed side by side.
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