Western Canada's art magazine since 2002
17 July 2018 Vol 3 No 15 ISSN 2561-3316 © 2018
From the Editor
Portia Priegert
A true summer ritual unfurled itself earlier this month in Victoria. No, not tea and crumpets. Pride!
I live a few blocks from the park that hosts the festival, so I had a bird's-eye view of the throngs – or should I say thongs? Livening up the normally staid city, people with tie-dyed T-shirts and striped socks wandered through the neighbourhood trailing rainbow flags billowing like superhero capes. As with Pride events in other Canadian communities, it was a lively creative outpouring. Despite ongoing news about rising intolerance in other parts of the world, and no matter the challenges and shortcomings here in Canada, it was a time to celebrate. For a few days afterward, the streets sparkled as if they were paved with glitter.
There's a power in sharing stories about diversity. For one thing, they help us see beyond our narrow interests and quick assumptions to become more compassionate and inclusive. And, as a friend recently reminded me, complex ecosystems are resilient. Why would human communities be any different?
As Pride unfolded, I found myself thinking again about how to better reflect diversity in the content we publish in Galleries West. One challenge is that we hear about only a fraction of what's happening across Western Canada, mostly when galleries or artists send us emails about upcoming events. Galleries are often pressed for time so getting word out beyond the local community can be hit and miss. So we're always grateful when people – often our writers, but sometimes others – let us know about events that might otherwise slip past. If we can see an angle for a story and find a writer and good-quality images, we're happy to help expose interesting work to a broader audience.
This issue includes coverage of two large shows by historical artists, David Milne and James Wilson Morrice. The Banff Centre is featured via an international group exhibition about industrial impacts on the land. In Saskatchewan, we look at a fun province-wide project based on roadside attractions. We also present some new, darkly surreal work by Manitoba artist Diana Thorneycroft and consider Gwenessa Lam's take on how digital technology is shifting our relationship with the truth.
Looking ahead to coming issues, some highlights include Paul Gessell's review of a new biography about the schizophrenia and same-sex loves of Agnes Martin, one of the most famous Canadian-born artists ever. Murray Whyte is working on a story about Anishinaabe artist Rebecca Belmore's exhibition at the Art Gallery of Ontario, and John Thomson has been interviewing Western Canadian artists trying their luck in the hot art scene in Los Angeles.
But one of my personal faves is a sweet little story about Lee Hutzulak, who is showing his quirky drawings at Cartems Donuts in Vancouver. That city's man-about-the-arts Mark Mushet pitched the idea. It's the kind of low-key venue I rarely hear about, but I think you'll agree it's worth checking out this tasty two-for-one venue. Watch for that story in August.
So, please keep in touch, early on, if possible, with your ideas – and then help us share those stories through your online networks when we publish. While I can't respond to every email – this is supposed to be a part-time job – I read everything that comes in and am renewing my efforts to be inclusive.
Oh, and by the way, if you're off on summer adventures, and maybe even poking around for treasures, I'm pretty sure the pot at the end of the rainbow is filled with glitter paint.
Until next time,
CONTRIBUTORS THIS ISSUE: Beverly Cramp, Paul Gessell, Lissa Robinson, Lindsey V. Sharman