Western Canada’s art magazine since 2002
27 May 2025 Vol 10 No 11 ISSN 2561-3316 © 2025
Shelley Boettcher
From the Editor
The art versus wall space in our house means that a lot of our collection is stacked up in a basement closet or in my office. We don't have a ton of wall space, but we do have a ton of art.
A few times a year, however, we shuffle the art around, so we can appreciate each and every piece. It keeps things fresh and exciting, as we're reminded of favourites that have been tucked away for a few months.
And we still buy new work, too — most recently two photos during the Exposure Photography Festival in Calgary earlier this year. I'm looking at them both as I write.
I do often wonder what we'll do if/when we have to downsize. Turns out I'm not alone. For some people, auctions fill a gap. But they're not a fit for everyone — and that's why Kristin Krimmel and Hans Christian Behm created the Canadian Art Preservation Foundation four years ago. When contributor Janet Nicol approached us about the foundation, I knew it would be of interest to our readers.
Speaking of interesting stories, Shazia Hafiz Ramji takes us on an intriguing journey through Margaux Williamson’s show, Shoes, books, hands, buildings, and cars, at the Museum of Contemporary Art Toronto until Aug. 3.
Then, former Galleries West intern Megan Klak takes us to Diana Ohiozebau’s exhibition Not Alone As Such – on at Harcourt House Artist Run Centre in Edmonton until June 14. It is, she says, “a celebration of community, resilience and connection.”
And if you're heading to Banff this summer, don't miss The Ancestors Are Talking: Paintings by the Indigenous Seven, on view at the Whyte Museum of the Canadian Rockies now through Oct. 19.
There's still time to visit the beautiful town of Port Hope, Ont., too, to see Deborah Uman-Sures' new exhibition, People Watching, on now through June 7 at Ganaraska Art & Framing.
And as always, thanks for reading.
CONTRIBUTORS THIS ISSUE: Nicole Bauberger, John Thomson, Katherine Ylitalo, Marianne Elder
We acknowledge the support of the Government of Alberta Media Fund, the Government of Canada Periodical Fund and the Canada Council for the Arts.
