2018   2017   2016   2015   2014   2013   2012   2011   2010   2009   2008   2007   2006   2005  



Sep 26 - Dec 21, 2013
Co-curated by Crystal Mowry, Ann MacDonald and Kent Archer

Entre le chien et le loup is a multi-layered expression used to describe a specific time of day, just before night, when the light is so dim one cannot distinguish a dog from a wolf. It expresses an uncertain threshold between hope and fear, between the familiar and comfortable and the unknown and dangerous. David R. Harper is interested in the form and idea of memorials, those markers that formalize links between memory and present experience. Using sculptural strategies which combine taxidermy with ceramics and embroidery, Harper refers to modes of craft and ornament that suggest a sense of history. In works such as I Tried, I Tried, I Tried, Harper invokes Jacques-Louis David’s struggle to portray a resistant subject through the latter artist’s depiction of Napoleon. Using a reproduction of David’s Napoleon Crossing the Alps, Harper has embroidered the form of the rearing horse – a popular motif in military statuary – as a black and white gradient. Achieving this transition in colour requires mastery only achievable through repetition. This work is one of many where the depiction of a subject in transition allows the artist to speak of the intersections of personal and universal mythologies, liminality and identity.       

 - Crystal Mowry




May 28 - Aug 30, 2013
Curated by Kent Archer

William Perehudoff: The Mural Room refers to a set of murals designed and executed by William Perehudoff at the request of Fred Mendel, the one time owner of Intercontinental Packers Ltd. The fresco style murals were completed in the reception room at the Intercontinental Packers plant in 1953.

Perehudoff employed a conventional fresco technique for the murals, mixing dry pigments that were ground in lime water on to a freshly plastered area of the wall prior to the plaster settling, incorporating the pigments into the structure of the plaster. A 1953 Canadian Art magazine article quotes Perehudoff as stating: “The two side walls were painted white in order to create a feeling of openness. It was then decided to make the north wall blue, taken over by a yellow ceiling to a south wall of olive green. The different coloured walls create movement around the room and a unity of opposites. Since the room is used almost exclusively for entertaining, I used the arts as the basis for creation of forms. The free forms with intervening colours created a unity of line and opposing colours.” 

The murals were rescued from a scheduled demolition of the plant in 2010 through a joint effort from the University of Saskatchewan, the city of Saskatoon and concerned members of the community. The rescue effort was spearheaded primarily by two committed individuals, Dave Denny and Lynne Earle with the University of Saskatchewan and the city of Saskatoon committing resources to the project. The University of Saskatchewan retained the services of Ian Hodkinson to remove and conserve the murals from their original home after which they were ultimately acquired by the Mendel Art Gallery.

Through a generous loan by the Mendel Art Gallery, the College Art Galleries will display the murals in their entirety in a reconstruction of the original Intercontinental Packers plant reception room. The exhibition will also include other examples of Perehudoff’s paintings from the University of Saskatchewan Art Collection.

The exhibition will be on view from May 28 to August 30, 2013 with a public reception scheduled for Friday, May 31 at 7:30 at the College Art Galleries.

Please join us to celebrate this important artist, his paintings and the efforts of the community who helped to save this important work.

For additional information, please contact Kent Archer or Leah Taylor at the coordinates below.

T: 306.966.4571  |   F: 306.978.8340
E: kent.archer@usask.ca, leah.taylor@usask.ca






Feb 7 - May 4, 2013
Curated by Kent Archer


Organized by the Kenderdine Art Gallery/College Art Galleries

In Janet Werner’s paintings location and physical exaggeration of the figure have become more significant as scenery and amplified characters are dropped or transplanted into the impossible visual plethora of 20 and 21st century visual pop culture. Werner has a specific idea of how she wants her paintings to be construed and how figures dwell in them. She continues to fictionalize time, place and memory as her subjects are invented, adapted, distorted and localized in these new contexts and the drama that Werner has created.

A panel discussion, Dreaming Painting, with artists Mélanie RocanJanet WernerAllyson Glenn and Tammy Salzl, moderated by Mendel Associate Curator Sandra Fraser will take place on April 13th, 2013 at 2pm. This will take place at the Mendel Art Gallery Auditorium.