Critical Distance

Mourning: Barb Hunt
October 29 – November 27, 1999

a response to the exhibition by Sheila Spence

To mourn is to show sorrow or regret over loss as defined in the Concise Oxford Dictionary. Emotions surrounding loss are much more layered and complex than this definition. Sorrow and regret are magnified by visceral memories of touch, laughter, pleasure. Often what is no longer there becomes more real in its absence. A personal loss evokes for each of us the cycle of birth, growth, death, decay and renewal and calls upon us to engage in rituals or processes to ground us and comfort us.
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Stories and Iyalogues: Visual Memories, History and Identity: Gomo George
September 24 – October 23, 1999

a response to the exhibition by Gerry Atwell

For a non-visual artist, the prospect of writing about visual arts is intimidating to say the least. After visiting Gomo George’s installation, Stories and Iyahlogues (Visual Memories, History and Identity) at Ace Art Gallery, however, I felt compelled to offer some personal impressions of his work. As a Black Canadian musician and writer, I have frequently written about race and identity, always with the hope of sharing perspectives, reducing obstacles and celebrating humanity. Continue reading

Critical Distance

RAPT: Kathleen Sellars and Susan Shantz
August 20 – September 18, 1999

a response to the exhibition by Jake Moore

Some of the elements that comprise the exhibition ,rapt: a correspondence of objects were originally solicited for a joint exhibition in Saskatoon at AKA Artist Run Centre “based on similarities in [the artists’] use of sculpture to articulate aspects of female sensuality. The artists decided to minimize verbal exchange and concentrate on making and maiing scuptural objects. Each object would be made in response to the last one received.”¹ The conversation continues here, as complex and nuanced as dialogue becomes between equals with affection for one another and the offerings that are presented.
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Degenerate Art: Bonnie Marin
February 12 – March 6, 1999

a response to the exhibition by Szu Burgess

In another place, at another time, Bonnie Marin would be sipping coffee at a sidewalk cafe discussing montage with Hannah Hoch and preparing new work for an exhibition of Berliner Dadaists. Marin would likely have been a key member of the Berlin Dada Club, which changed the face of art in the first decade of the 20th Century; a group united by an ironic cynicism and a desire to provoke. Continue reading

Critical Distance

MAN MADE: Evan Tapper
January 8 – February 6, 1999

a response to the exhibition by Jack Lauder

“Why me?” I cried, seeing my face in the mirror. One eye was swollen shut – my eyebrow had become part of my upper lip. What the hell happened yesterday? I remember an awful day spent dealing with inflexible people, then a pint or two, then Evan’s opening – I said I would write about the work. We’re supposed to meet this afternoon. I can’t – not today.
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