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Nov 12 - Dec 21, 2003
Curated by Kent Archer

David Miller's work expands the formal and discursive potential of photography by reconciling two seemingly opposed tendencies within contemporary photographic practice: the deployment of images as information and a conceptual and lyrical approach which admits the relationship between painting and photography. The work presented in this exhibition are "photograms" based on material fact and presented as a record, but are refigured by Miller as pure image.


Sep 2 - Oct 19, 2003
Curated by Kent Archer & Helen Marzolf

Matchless is an exhibition of four upholstered sculptural pieces. Grossly enlarged scrotums, some of them 5 to 6 feet in height, hang - or rather droop - from thin metal stands or down to forehead height from high in the ceiling, or are perched side by side lolling together on the floor. "Baby Blue Balls", "Tufted Black Balls", "Rubbed Red Balls", they are all in a particular condition made evident by the style, colour and materials of traditional upholstery methods and upholstery patterns. By taking the basic form of the punching bag and pairing it to reference pairs of testicles, these pieces reference both the heightened physical male to male contact of pugilism, and a kind of gross sexual fantasy. I am also interested in the extreme fragility, sensitivity, and soft rounded stereotypically feminine aspects of testicles.


Jul 14 - Aug 24, 2003
Curated by Kent Archer

A consideration of the influences of twelve senior Saskatchewan artists, all members of the Royal Canadian Academy, upon next generation artists. In this multi-generational project, senior artists will select younger artists whose work is of personal interest to each. The "second generation" artist's have been impacted to varying degrees through the senior artist's visibility and in some cases via direct mentoring influences. This project has received support from the National Council of the Royal Canadian Academy, with the cross generational and mentoring aspects of the project being of particular interest to the R.C.A.

 artists : Douglas Bentham & Terry O'Flanagan, Bob Boyer & David Garneau, Bob Christie & Jonathan Forrest, Victor Cicansky & Jefferson Little, Michael Hosaluk & Tom Ray / Miranda Jones / Heather Cline / Jamie Russell / Trent Watts / Art Perlett / Doug Taylor / Amanda Immelman, Gregory Hardy & Nancy Lowry, Dorothy Knowles & Catherine Perehudoff, Wynona Mulcaster & Otto Rogers, Wilf Perreault & Jeff Nachtigall, William Perehudoff & John McLean, Allen Sapp & Lyndon Tootoosis, David Thauberger & Rick Gorenko


May 26 - Aug 4, 2003
Curated by troy Gronsdahl & Helen Marzolf

Kenderdine Art Gallery has worked with Saskatoon artist Bart Gazzola and the College of Pharmacy and Nutrition to situate art in a place yo

At first glance,Gazzola's plates look pretty conventional. Closer scrutiny reveals 'flowers' fleshier, and more moistly visceral, than any garden-variety hybrid. Here is dinnerware that refers to the history of ceramics, food engineering, systems of order, and anxieties about how we view the body. Installed in wood finished display cases that resemble both kitchen cabinets and the museum's precursor, 'the cabinet of curiosities', Gazzola's provocative china plates dish up feasts of interpretation and speculation.


Apr 21 - Jul 6, 2003
Curated by Kent Archer

David Alexander : Wanderland showcases a snapshot of the artist's production over the past ten years including examples from two major bodies of work that continue to inform Alexander's practice. Distilled from landscapes both local and foreign, Alexander's preoccupation with transforming conventional landscape into complex and often disorienting gestures of pure colour, ask viewers in search of terra firma to push through surface "obstacles" in order to locate the land beyond. The complete erasure of references to the horizon in Alexander's recent Water Surface Series further distances his work from canonical landscape with an immediate hit of form and colour with referential information revealed with further study.

Born in Vancouver, B.C., in 1947, he started painting seriously in high school where an art teacher encouraged him toward a different way of looking at things. He then studied at the Vancouver School of Art Extension School (1967-70); Art Department, Langara College, B.C. (1971-72); Notre Dame University, B.C., for his B.F.A. (1975-1978).

He attended the Emma Lake Workshop in 1979 and the following year he moved with his wife Judy and family to Saskatoon because of the atmosphere in the artistic community of Saskatchewan. There he studied at the University of Saskatchewan for his M.F.A., writing his master's thesis on a personal account of the ways in which the Impressionist painters, Monet and Cezanne, influenced his work. He did his graduate research in London, Paris and New York City.

Christopher Hume, the Toronto Star art critic, noted, "Alexander's latest collection consists of large acrylics and small watercolors whose starting points are the mountains, forests and lakes of western Canada. But where the tourist sees only blue, gray and green, Alexander finds yellows, pinks, purples, oranges and reds. Skies become an occasion for riotous abstract cadenzas: this guy sure knows how to paint. The exhibition is an unapologetic display of sensuousness, and beauty for its own sake. These works are for people who really like painting, who can't kick the habit despite having had to keep it secret for years."





Mar 27 - May 20, 2003
Curated by H. Marzolf & Candace Savage

Crows hang around human habitations, ever on the look out for shiny objects, their next meal, an escape from the ordinary. And just as they are attracted to us, we humans are especially sensitive to the attributes we share with them. The prominent iconic place in culture occupied by crows has many facets: harbingers, agents of change and transgression, jokers.

Crows, the central piece in this exhibition, is an unusual 'bookwork' designed to suit the ideas of a group of artists who have exuberantly investigated "crow energy": Joanne Bristol, Marian Butler, Dagmar Dahle, Karilee Fuglem, April Hickox, Susan Mills, Candace Savage, Angela Somerset and Sheila Spence. One member of this group, Candace Savage, lent her copy of Crows and collaborated with the Kenderdine Art Gallery curatorial staff to select crow-amenable art objects from the University of Saskatchewan Art Collection. The artworks assembled here lyrically snag the non-factual ways we know crows, or, perhaps more accurately, suggest shared crow-esque mannerisms.

Regina artist Leesa Striefler's photo-based drawing Contemporary Mythologies: Sorrow is a poignant study of a dream of flight from a landlocked and gravity-clad position. The abject masquerade of Striefler's image may seem fragile, even pathetic, but it nevertheless alludes to the powerful and necessary updraft of interiorized roles.

Doug Townsend's untitled photograph enlists documentary photography to suggest the elusive and ephemeral. Basing his work on the mechanical limitations of the aperture, Townsend creates a fiction worthy of The X-Files: an ineffable presence fluttering just outside the range of perception, encountered in the most intimate of places.

The hustling scavengers portrayed in Rita McKeough's Urban Uprising trace a conceptual path from the politics of urban planning to unorthodox collective understandings of 'home', 'neighbourhood' and 'community'. Set during the destruction of inner city neighborhoods in Calgary, Alberta during the economic boom during the late 1970s and early 1980s, McKeough's playful image encapsulates the adaptive [crow-ish] tenacity of inner city activism.

J.C Heywood's Vanity, Vanity is piled with objects resplendent with polished surfaces. What appears to be a crowded but straightforward still life refracts into an allegorical landscape of memory and personal anecdote, reflected as graven imagery in the surfaces of jewelry, crystal, silver and chrome.

Joanne Bristol's The Weight of Insects teases the great taxonomies of biology. Her fictional insectoid assemblages are culturally contrived images of nature. It is not hard to image them in a variety of contexts: pinned to a small child's coat; voguing a high-end design shop; on the set of low rent science fiction movie, or as ornamentation in a crow's nest.

The artists' book, Crows, was facilitated and funded by aceartinc., Winnipeg, Manitoba. This exhibition has been supported by the University of Saskatchewan, The Museums Association of Saskatchewan, The Canada Council for the Arts; the Beamish Trust. The Kenderdine Art Gallery thanks Candace Savage and the participating artists for their generous support of this project.





Feb 28 - Apr 13, 2003
Curated by H Marzolf & Brock Silversides

Nearly every rural home across Canada features at least one aerial photograph of the farmstead, and frequently multiple images, taken at intervals, representing a complex bundle of fact and emotion that defines the "home place." Despite their place as an iconic staple of rural culture, these photographs form a vast, unexamined archive. Aerial Farm Photography, organized by the Dunlop Art Gallery, examines them in an installation comprised of several chapters:

- The photographs by the late H.D. Howdy McPhail, a well-known pilot and photographer who worked out of North Battleford, depict farmyards 1952-54, a period of rapid technological, economic and social change. McPhail's crisp images provide a candid view of post-war prosperity as it played out in the farming communities of west central Saskatchewan. At the same time, his photographs convey an unmistakable affection for the people and landscape.

- Aerial Farm Photography contains by a monumental floor piece/photo-installation, The Garden, by Regina artist Shelley Sopher. The Garden is a colourful survey of a particular section of land, taken from the oldest, subtlest landscape view-from-above - that of someone standing and looking down.

- Another component of the exhibition are vertical aerial photographs - typically associated with mapping - selected by well-known curator and archivist Brock V. Silversides. While acknowledging the utility of these vertical aerials, Silversides sees them as 'found art' and images of considerable aesthetic interest.

- Contemporary artists Joe Fafard, Michael Maranda, and Darlene Kalynka represent different takes on aerial photography. In the Fafard Field Project, Joe Fafard poses the question whether it's the photograph or the land itself where art resides; Darlene Kalynka explores the family farm dilemmas from the perspective of a rural expatriate; and Michael Maranda's witty Generic Landscapes and literary texts combine abstraction and landscape within a single image.


Jan 10 - Feb 19, 2003
Curated by Timothy Long

Nachtigall's work samples a wide swath of visual traditions: comic books, toys, folk art, TV and pop culture. By combining images from disparate sources with his own autobiographical drawings, he mimics the eclectic and unrelenting flow of media imagery as a continuous backdrop for everyday social and domestic narratives. Excerpts from conversations with myself, is comprised of boyish drawings of cars, guns, stylized he-men, and wild animals, along with a Saskatchewan flag, cartoon characters, and soft upholstered fabric. Nachtigall has described his art practice as putting "a spigot in my subconscious." Despite his seemingly random sources, Nachtigall's story-board assemblages convey an unmistakable precision. They invite us, the viewers, into the act of story-making, and in so doing undermine the passivity of a spectator.