Western Canada's art magazine since 2002
23 April 2019 Vol 4 No 9 ISSN 2561-3316 © 2019
From the Editor
Portia Priegert
One pleasure of working for an art magazine is that every so often a new art book drops like a ripe plum through my mail slot.
For the last few weeks, I have been digesting a bite-sized chapter over breakfast from one of the latest, Before I Was a Critic I Was a Human Being. Amy Fung’s first book looks at the peculiarities of the Canadian art world through the lens of an arts writer.
Fung, who has written occasionally for Galleries West, brings a sharp eye and an engaging style to the project, describing everything from her childhood in Edmonton to her tour of artist studios across the Prairies, to time spent on retreat at Newfoundland’s Fogo Island.
The book is more earnest than gossipy, and Fung brings a clear-eyed critical vision to her experiences. There are many memorable accounts, but her discussions of cultural capital and an award gala as well as reconciliation and the immigrant experience offer particularly rich food for thought.
Book*hug Press of Toronto is due to release the book in May.
In the meantime, there’s plenty to read in this issue.
Two stories look at private art collections – Richard White writes about his visit to Vancouver’s Rennie Museum, while Ottawa-based Paul Gessell gets a backroom peek at key pieces of Inuit art that Albertan Marmie Hess recently bequeathed to the Canadian Museum of History.
We also have stories about artists Jim Breukelman, Heather Leier, Jeff Sylvester and James Nizam.
Looking ahead to the next issue, expect coverage of two fascinating group shows, Moving Still: Performative Photography in India and Dyscorpia. We’ll also have a review of new work by Amalie Atkins at the Remai Modern in Saskatoon.
Until next time,
CONTRIBUTORS THIS ISSUE: Beverly Cramp, Paul Gessell, Agnieszka Matejko, Richard White