Winnipeg Art Gallery - Manitoba, Canada
Experience the art of Manitoba at the Winnipeg Art Gallery. This tour showcases their vast collection of Inuit artwork, as well insight into their educational programs and studio.
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Assiniboine Park, Manitoba, Canada
Assiniboine Park sprawls over some 400 acres along the Assiniboine River. Here, a garden and pond mingle natural elements into the gallery of simply stunning bronze sculptures, porcelains, paintings and sketches of celebrated Winnipeg artist Leo Mol. Inside the Pavilion Gallery you can discover the works of three Manitoba artists: Ivan Eyre, Clarence Tillenius and Walter J. Phillips.
Winnipeg's Assiniboine Park #4. | June 2013.
Winnipeg's Assiniboine Park #4. Video Serial 2013 June.
Key words: Winnipeg, Manitoba, Canada, squirrel, recreation, kite, Formal garden, herb, flowers, trees, gooses, duck, drake, green.
Childrens' Park Assiniboine Pk Wpg
The Streuber Family Children's Family Children's Garden in Assiniboine Park Winnipeg, MB is a magnificent place for children.
IVAN EYRE WINNIPEG LSD25RECORDS SEPT 8 2014
IVAN EYRE in WINNIPEG. LSD25RECORDS KUMARAN mixed, recorded, mastered, engineered,video c2014 NORTH WATCH at PORTAGE AND MAIN in WINNIPEG.fair use dis claimer .Ivan Kenneth Eyre, OM (born 15 April 1935 at Tullymet, Saskatchewan) is a Canadian painter.Eyre attended the Saskatoon Technical Collegiate where he studied under Ernest Lindner. He studied at the University of Saskatchewan under Eli Bornstein in 1952.[1] He attended the University of Manitoba School of Art, graduating in 1957 with a BA in fine arts, Eyre went on to the University of North Dakota, Grand Forks, in 1958-59, where he both studied and taught.[1] He was a pupil of the artists Wynona Mulcaster and George Swinton. Eyre held a professorship at the University of Manitoba School of Art from 1959-1992. Ivan Eyre's work is featured in many galleries in Canada.[2]
Nine sculptures, donated by well known Canadian artist Ivan Eyre, is part of the McMichael's permanent collection. Eyre is perhaps best known for his large landscapes and mythological paintings—like his drawings, Eyre's sculpture is a complex synthesis of many elements of Western and non-Western influences.
Eyre's career has been marked by a long list of awards and distinctions. In 1988, The Personal Mythologies/Images of the Milieu exhibition opened the new National Gallery in Ottawa. In 1998, the Pavilion Gallery and Museum was opened in Winnipeg, with the entire third floor devoted to rotating exhibitions of his work as a painter, draftsman, and sculptor.
The Sculpture Garden's beautiful, spectacular artistic ensemble and its place at the McMichael reinforces the gallery's mission to showcase the land as artistic muse and provide visitors with a deep appreciation of the relationship between art and nature.
Sakahàn: International Indigenous Art at the National Gallery of Canada until 2 September 2013
Artists and curators participating in this summer's exhibition Sakahàn: International Indigenous Art talk about what visitors will see when they come to the National Gallery of Canada and what they will take with them when they leave.
JERM the WORM - LIVE @ MEME 2016 (Winnipeg Art Gallery)
JERM the WORM - LIVE @ MEME 2016 (Winnipeg Art Gallery)
memetic.ca
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U.S. Freedom Pavilion at the National World War II Museum
Take a look back in World War II history at the U.S. Freedom Pavilion at the National World War II Museum in New Orleans. Explore the stunning multimedia exhibits telling the stories of the U.S. Armed Forces: Relive history when you visit the World War II Museum in New Orleans.
GoNOLA TV is a regular video segment on New Orleans food, music, shopping, and nightlife. Visit for all the best places to eat, drink, shop, and play in New Orleans or head on over to and plan your vacation today!
UAV View The Forks Area Winnipeg Manitoba
The Forks Area Winnipeg Manitoba, Human Rights Museum.
The Royal Canadian Mint & Other Attractions Around Winnipeg
Examples of attractions found on the edge of town include historic St. Andrews on the Red, Lower Fort Garry, Oak Hammock Marsh and the Royal Canadian Mint. At the south end of town, the Winnipeg plant of the Royal Canadian Mint opened in 1976. 184 million loonies and 700 million pennies are pressed annually for Canada and coins are pressed for 40 countries around the world. From the viewing gallery, you can see the minting of coins in progress.
The Legend of Kiviuq at the WAG
Presented by the Manitoba Puppet Theatre from Feb 6 to 15, 2015.
Tickets available online at
Ontario Regiment Museum's Tank Saturday: Ontario Regiment Day
I took another visit to this unique living-military museum in the City of Oshawa, Ontario Canada. The museum had a Tank Saturday to commemorate the Ontario Regiment since the regiment was founded on September 14, 1866. This tank museum is only a 1-only drive from the City of Toronto and it has the largest operational military vehicles in North America.
Archdiocese of Saint Boniface, Winnipeg, MB (Drone)
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Time Lapse Installation of Brian Jungen's Vienna
Watch as our Prep team assembles and installs Brian Jungen's work, Vienna from the collection of the National Gallery of Canada.
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Created by Lief Norman.
ThyssenKrupp Glass Elevator @ HSC, Winnipeg, Manitoba
Installed, ???
Filmed, December 8, 2019
I know there’s more elevators at this hospital but I didn’t have time to film anymore that day so I will go back another day, probably the end of January or the beginning of February.
Visiting Animals in Assiniboine Park Zoo | Zoo in Winnipeg | Manitoba | Canada
Assiniboine Park Zoo is a zoo that was established in 1904 at the West end of Assiniboine Park in Winnipeg, Manitoba, Canada. The Zoological Society of Manitoba was formed in 1956 to provide the vision and funding for the zoo. For more info, visit this:
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Winnipeg Railway Museum M300
William Kurelek, Pioneer Homestead on a Winter's Evening
Lot 31 of the Cowley Abbott Fall Live Auction of Important Canadian Art, held Tuesday, November 19th, 2019 at the Gardiner Museum.
mixed media on board
signed with monogram and dated 1971 lower right; titled on the reverse of the artist’s frame
24.5 x 19 ins ( 62.2 x 48.3 cms )
Auction Estimate: $50,000-70,000
Sold for $82,600.00 (including Buyer's Premium)
Provenance:
Acquired directly from the artist
Private Collection, Ontario
Literature:
William Kurelek, The Ukrainian Pioneer Woman in Canada: A Series of Twenty Paintings by William Kurelek, The Isaacs Gallery, Toronto, 1968, not paginated
William Kurelek painted “Pioneer Homestead on a Winter’s Evening” during a period of creative transition. The Canadian landscape had emerged as a dominant subject in the work of the Alberta-born, Manitoba-raised artist after he resettled in Toronto from England in 1959. However, it was not until the mid-1960s, in the wake of the country’s Centennial, that his landscapes began assuming a more nationalistic tenor. What distinguished Kurelek’s nationalist vision from that of previous Canadian artists was the emphasis he placed on regional and multicultural diversity. Whereas the country’s painting tradition, as it had been defined earlier in the twentieth century by such collectives as the Canadian Art Club, Group of Seven, and Canadian Group of Painters, had centred on the idea of an unindustrialized and underpopulated wilderness. The landscape became, for Kurelek, a responsive stage of human, and particularly immigrant, activity and exchange.
The seeds of the artist’s approach to the Canadian terrain were actually sown as early as 1964. That year he dedicated An Immigrant Farms in Canada, a series exhibited at Toronto’s Isaacs Gallery, to the migration experience of his parents’ family, especially his Ukrainian father. Kurelek followed An Immigrant Farms in Canada with The Ukrainian Pioneer Woman in Canada, a tribute to the artist’s mother, which was exhibited at the Ukrainian Pavilion at Expo ’67 in Montreal. The production of this series had been encouraged by the Toronto branch of the Ukrainian Women’s Association of Canada. Members of the association – including the collector who eventually acquired “Pioneer Homestead on a Winter’s Evening” – also had ties to the Ukrainian Women’s Institute of St. Vladimir, on Spadina Avenue.
The painting pictures a woman drawing water from a well at night on the Canadian Prairie in winter. The main thatched- roof structure is what Kurelek, in an explanatory text he composed for The Ukrainian Pioneer Woman in Canada, referred to as “the second house”: after the “burdei,” the “first real home of the Ukrainian settler...modeled after the homes they knew in the old country and usually ‘home-made’ thriftily with the materials at hand.” “Pioneer Homestead on a Winter’s Night” also evinces Kurelek’s skill as a professional picture framer. The painting’s surround combines two elements that recur throughout many works the artist produced about the lives of his immigrant ancestors: barnboard retrieved from his father’s farm outside Hamilton, and vyshyvka, traditional Ukrainian folk embroidery.
“Pioneer Homestead on a Winter’s Night” was produced at a time when Kurelek, a devote Roman Catholic, often peppered his work with mixed messages. Many of his paintings from this period oscillate between, for instance, heroically celebrating the economic progress of the Ukrainian diaspora in Canada, on the one hand, and castigating the hubristic excesses of a society that, having turned from God, teetered on the edge of apocalyptic calamity in the nuclear age, on the other. While “Pioneer Homestead on a Winter’s Night” is clearly concerned with the former, it hints at a darker theme. Although the painting’s nostalgic mood, along with the bright dog star, waxing sickle moon, and the home’s luminous interior, convey comfort and optimism, the night’s cold, enveloping blackness undercuts the scene’s otherwise placid simplicity. Kurelek felt deep appreciation for natural beauty, but he often sought, through landscape, to remind the viewer that, “Nature gives not a drop of comfort, can do nothing, will do nothing...living beings are trapped by her pitiless laws.”
We extend our thanks to Andrew Kear, Canadian art historian and Head of Collections, Exhibitions and Programs at Museum London for contributing the preceding essay. Andrew is the past Chief Curator and Curator of Canadian art at the Winnipeg Art Gallery, a Curator of the 2011/2012 national travelling exhibition William Kurelek: The Messenger and author of the Art Canada’s Institute’s William Kurelek: Life & Work, available at aci-iac.ca.
Further details of this artwork:
Nuit Blanche Winnipeg 2018
A few sounds and images from Winnipeg's night of art and performance - Nuit Blanche.
Interview Wayne Baerwaldt curator Montreal Biennale P1
This is the first part of an indepth interview with Wayne Baerwaldt the curator of the 2007 Montréal Biennale.
I have known Wayne Baerwaldt since he was director of Plug In Inc. an artist Run Gallery in Winnipeg, Manitoba, Canada (1986-1999). We have not always seen eye to eye over the years, but there is a sense in this interview that both of us have mellowed.
Wayne talks frankly about how the Biennale de Montréal came together, the choice of artists, his intuitive approach to curating, his vision of a Canadian Biennale, how and why the show was installed as it was, and his view of himself as an actor in the creative process and the production of culture.
The interview is illustrated with shots of the works by over 30 of the artists in the show, see list below, most of which were taken during the opening of the exhibition. They give a taste of the energy of the show, rather than formally documenting the art.
Wayne has a lot of experiences in his dealings with in the art world; his accomplishments are impressive, both locally and internationally (see this bio and CV
He has many critics, but I think historically we will look back and acknowledge that he contributed greatly to opening up the international art scene to Canadian, and especially Winnipeg artists. He did this by including Canadian and international artists in the exhibitions he curated. But more importantly, over the years, he has demonstrated to the world how a seemingly-insignificant cultural outpost such as Winnipeg or Lethbridge can not only make sense on the international stage, but also can capture the imagination and even become desirable to the cultural elite. In other words he helped us feel good about ourselves and never left his origins behind.
Wayne's road is very interesting, at times impressive, at times off-putting. But what comes out in the interview is not arrogance, but rather a probing humility. Wayne is honest about his personal and intuitive approach to curating. And, while he clearly has developed a confidence and maturity in his approach, it is one that leads to constant questioning rather than any form of complacency. The unexpected rawness and subtle complexities of his Montreal Biennale are proof.
This interview was first prepared for vernissage.tv
List of artists/artworks seen, all courtesy of the artists and with permission from the Montreal Centre international d'art contemporaine, in order of appearance:
Part 1
MY BARBARIAN, Dieux du Canada / KENT MONKMAN, Salon indien, Courtesy Bruce Bailey Fine Arts / THEO SIMS, The Candahar / DAVID HOFFOS, Scenes from the House Dream, Phase 5, Courtesy TrépanierBaer Gallery / GRAEME PATTERSON, The Hockey Rink, Collection Art Gallery of Nova Scotia / SCOTT MCFARLAND, Huntington Botanical Garden, San Marino, Ca., Courtesy Monte Clark Gallery / SUSAN TURCOT, Fault Lines, Courtesy Galerie Arndt & Partner / DAVID ALTMEJD, Loup-garou 2 & The Hunter, Courtesy Andrea Rosen Gallery and Stuart Shave/Modern Art/ DANA CLAXTON, Sitting Bull and the Moose Jaw Sioux, Courtesy Moose Jaw Museum & Art Gallery / IRAN DO ESPIRITO SANTO, Déjà Vu 2, Courtesy Sean Kelly Gallery / LUANNE MARTINEAU, The Body, Jessica Bradley Art + Projects / ELEANOR BOND, Places for Sleeping and Working / JEFF FUNNELL, Notes from an Inquest / CHRISTINE DAVIS, With rise of curtain ad-libbing from text..., Courtesy Olga Korper Gallery