Exhibitions: Current - Upcoming - Past (2011, 2010, 2009, 2008, 2007, 2006, 2005, 2003)
Past Exhibitions: 2004 To view a complete list of past exhibitions, click here.
Reichertz, Wadden Wiebe
November 24th, 2004 - January 15, 2005
Sir Wilfred Grenfell College Art Gallery is pleased to open Reichertz, Wadden Wiebe, an exhibition of recent work by three Halifax-based painters: Mathew Reichertz, Brent Wadden and Mitchell Wiebe. The paintings were selected by curator Gail Tuttle during several studio visits with the artists throughout the past year. Each of these painters is a graduate of the Nova Scotia College of Art and Design (NSCAD) and each artist has an active exhibition record, attracting attention from curators and galleries across the country. The Grenfell Gallery presents this exhibition as a document on specific aspects of contemporary painting.
Mathew Reichertz is a graduate of Concordia University (BFA 1993) and NSCAD (MFA 1999). Romanian Debacle, his series of 68 paintings (8 large and 60 small) evolved from the artist's extensive research on environmental damage to the collection 8 Contemporary Romanian Painters, which traveled to Halifax in 1979 for exhibition at Saint Mary's University Art Gallery. Crates containing 68 paintings by Virgil Almasanu, Sabin Balasa, Horia Bernea, Sever Frentiu, Ion Ghorghiu, Georgeta Naparus Grigorescu, Ion Pacea and Constantine Piliuta, arrived at the Halifax International Airport where they were unloaded by Air Canada employees. For undetermined reasons, the crates (which were not insulated to withstand the elements) were left outside on the tarmac for 6 days. Ensuing rainstorms quickly soaked through the paintings inside. As the crates arrived at the gallery, there was so much water still running out of them that a hallway was flooded. Many of the paintings were water-damaged and mould had begun to grow on the canvases. Restorers from the Canadian Conservation Institute in Ottawa were sent to Halifax for a month to carry out extensive conservation and restoration. The paintings were briefly exhibited before returning to Romania. Air Canada eventually agreed to pay the conservation costs.
Student Gallery Assistant Meleny Yetman poses with the artwork during the installation.
Views of the Installation & Opening Night
Mathew Reichertz writes in his statement that "Romanian Debacle represents an effort to allow a particular narrative to steer the choices that I make as a painter. The work draws its cues from the particular narrative that I have chosen to investigate. Every conceivable aspect of the narrative becomes open to consideration as I make choices about scale, material, colour, style and imagery. The work, though comprised of 68 separate paintings, should be considered as a single reaction to the events described above."
A painter, musician and video artist, Mitchell Wiebe is a graduate of Emily Carr Institute of Art and Design (BFA 1991) and NSCAD (MFA 1996). The paintings chosen for this exhibition by curator Gail Tuttle fall within a specific category, described as "whirlwind paintings," or "portal shifters" by the artist. "These works fold space to expand time. This occurred to me in a dream, when I was asked, "why do you paint?" Physics isn't necessarily at the forefront of my thinking when I set out to paint. While I do see painting as nonlinear, there is a narrative potential because the viewer always 'reads' the painting. It is somewhat similar to science as far as observation is concerned. The process of looking is what brings the viewer to complete the art experience." Paintings such as Whirlwind investigate the sinister, whimsical play of image and thought, with reflective surfaces that mirror a fragmented reality - a moment of clarity amid a blur of movement.
Wiebe has exhibited in group shows across North America. His selection of large-scale paintings, Digital Dragon Meets Analogue Unicorn, is currently a solo exhibition at Open Space gallery in Victoria, British Columbia. In 2002 Wiebe was artist-in residence at the Capital Health Memory Clinic in Halifax, Nova Scotia where he was able to paint while interacting with the patients and staff. As he recalls that experience, Wiebe notes: "Just thinking about the way disease affects people and how someone's personality is like a bright sparkŠI started looking at neurons under a microscope ŠThat whole idea of transmitting started influencing my painting, and I started doing these interior landscapesŠthe synapses are like trees and the neurons are like characters having conversations."
Brent Wadden, a graduate of NSCAD, currently works in Frankfurt, Germany. His paintings are geometric and graphic. Wadden uses design, fields of intense colour and symbol to construct a series of paintings whose elements play on the narrative, yet shift in plane and relationship. "The series of paintings in this exhibition were created over a span of two years, some of which were made during my undergraduate studies at the Nova Scotia College of Art and Design. I am interested in the creation of mysterious abstract worlds that in some ways can be seen as 'the landscape.' My multilayered compositions consist of range of geometric and organic forms that can be interpreted as things we see in our natural environment. Some may view the geometric shapes as architectural structures that dominate our urban spaces and the organic forms can be paralleled to the natural world."
Reichertz, Wadden, Wiebe continues until January 15, 2005. The public is invited to an opening reception for the artists on Wednesday, November 24, from 7 to 9 p.m. Mitchell Wiebe and Mathew Reichertz will attend. Artist's talks will take place in the Fine Arts Lecture Theatre on Wednesday, November 24 at 12 p.m.
Mitchell Wiebe, The Hurricane Formerly Known as Harold, acrylic and oil on canvas, 56" x 59", 2002.
Mathew Reichertz, Ararat Anomaly, oil and wax on canvas,
4.5" x 8", 2004.
Mathew Reichertz, Ceausescu, December 25 1989, oil and wax on canvas, 4.5" x 8", 2004.
Views of the Installation & Opening Night
October 7 - November 13
Sir Wilfred Grenfell College Art Gallery will exhibit Tracing Night, a new installation by Ed Pien from October 7 to November 13, 2004. The project includes a ten-day artist's residency at Sir Wilfred Grenfell College from September 30 to October 10. The objective of the residency is to support Ed Pien's installation of a new labyrinth and video work and his participation in public programs and an interdisciplinary colloquium “Ghost Stories: Drawing in the Dark.” The exhibition is accompanied by the publication Ed Pien: Tracing Night, with an introduction by Robin Metcalfe and a critical essay by curator Tila Kellman.
Schedule of Activities:
- Ed Pien will begin his residency on October 1.
- The colloquium will take place on October 7 from 10 a.m. to 1:30
p.m. in FA224.
- Ed Pien will give a talk on his work during the colloquium (see
colloquium notes, attached).
- A public reception to open the exhibition is scheduled for October
7. from 7 to 9 pm.
Throughout the residency, Pien will work with interested students as he installs the labyrinth. He will be available for class visits and consultations.
Tracing Night (2004) is an important new installation that redefines visual communication, installation and the medium of drawing. The viewer first encounters the installation as a veil of suspended glassine paper 45 feet wide by 12 feet high that cuts across the gallery in a gentle curve. Pien's large-scale ink drawings on the glassine depict a girl asleep, accompanied by images that appear from her dream. A fan causes the entire veil to undulate gently. Beyond this suspended work, a large-scale installation in the form of an elongated figure-eight is laid out on a slight diagonal along the length of the gallery (see enclosed floor plan). The outer layer of this work progresses from light to dark blue, evoking the passage of day into night. Pien has overlaid silhouetted flying images of winged, part-human creatures on the blue-tinted surfaces. Their numbers multiply in a dense swarm as they gather towards the darkened end of the structure. Sound is used to enhance the spatial quality of the installation by activating the entire gallery space.
The viewer's physical participation is a necessary element in the work. The viewer/participant must enter the installation, progressing into the night instead of backing away from it, become momentarily
Ed Pien, Rabbit Girl Transforming (Tunnel), 2004.
Photograph by Steve Farmer.
Ed Pien, Rabbit Girl Transforming, flash and ink on paper, 2004.
consumed by it, and move forward to explore two inner structures. An entranceway is located on the rear side of the light blue section, where the viewer confronts an inner circular structure filled with images of strange creatures. A narrow passageway (the elongated section of the figure-eight shape) forms a path the viewer must negotiate to arrive at a second circular structure. Here, an inner spiral form is suspended from the ceiling and looms over this darkened space; images of figures appear as blue, glowing silhouettes that describe scenes of transformation.
Tracing Night includes a video projection that, for Pien, offers a time-based means of depicting transformation. Black figures projected from the ceiling onto a circular disk seem to be interacting and continually shape-shifting in a manner not attainable through drawings of still images. Research for Tracing Night was initiated by the artist's interest in the childhood wonder and fear of night. In darkness, details are lost and solid forms seem to give way to ephemeral, hard-to-define shapes. In this state, the senses appear to sharpen, yet physical perceptions succumb to wild imagination. When darkness advances or descends, the usual human response is to seek shelter and refuge. In this work, darkness and night are used to explore ways in which fears are confronted and overcome. Referring to the picture stories of night scenes made by Inuit artist Irene Avaalaaqiaq, Pien observes that human beings overcome the fear of night and the evils and dangers that reside in it by transforming themselves into animals. The vulnerable humans, endowed with animal spirit and power, attain the means to better confront and negotiate or escape a potentially threatening situation.
The exhibition, residency, publication and colloquium support Sir Wilfred Grenfell College Art Gallery's programming mandate to present and interpret projects that deal with key issues in contemporary art. We seek to place those issues within in an expansive interdisciplinary context, and to provide clear and comprehensible interpretation for curatorial and visual art projects.
Ed Pien, Rat Birthing, flash and ink on paper, 2004.
Ed Pien, She Dreams Their Dreams,
flash and ink on paper, 2003.
Sir Wilfred Grenfell Gallery is pleased to be able to offer a virtual tour pf Tracing Night. Click on the image to view a short clip filmed by Doug Grear and Katie Nicholson of "The Beat", a current events show on CBC television. The interview with Ed Pien took place during the exhibition opening. Sir Wilfred Grenfell College Art Gallery extends a special thank-you to CBC Corner Brook for the video clip.
Ed Pien, visiting artist: Ed Pien received his Master of Fine Arts degree from York University, Toronto, and his Bachelor of Fine Arts degree from the University of Western Ontario. He has exhibited nationally and internationally, in venues that include The Drawing Centre, New York; The New Paradise, Taipei; La Biennale de Montréal; W139, Amsterdam; Contemporary Art Gallery, Vancouver; Museum of Contemporary Canadian Art, Toronto; Canadian Cultural Centre, Paris; Middlesbrough Art Gallery, UK; Parkhaus, Berlin; Galerie Maurits van de Laar, The Hague; Pruss and Oches, Berlin; and Ex-Concento del Carman, Guadalahara. Ed Pien will also be participating in a national touring drawing exhibition curated by Kim Moodie, David Merritt and Sheila Butler. Ed Pien's work is in the collections of the Musée des Beaux Arts, Montréal; The Canada Council Art Bank; McIntosh Gallery, London; Hamilton Art Gallery; Agnes Etherington Art Gallery, Kingston and the University of Toronto. Ed Pien is represented by Pierre-François Ouelette and the Robert Birch Gallery in Toronto.
Tila Kellman, curator: Tila Kellman has an MA in Art History and a PhD in Social and Political Thought, both from York University in Toronto. Her dissertation was a re-interpretation of the practice of Michael Snow in the light of contemporary interpretation theory and the philosophy of the self developed by Paul Ricoeur. This has been published as Figuring Redemption: Resighting Myself in the Art of Michael Snow, published by the Wilfred Laurier University Press in Waterloo in November 2002. Ms. Kellman graduated from the University of California, Berkeley, in French literature and later received an MA in biogeography, also from Berkeley. She was a practicing potter before taking up studies in art history and theory and is a committed gardener. Her disparate interests came together collaborating on a photo essay with a Honduran peasant farmer who conceives of farming as an aesthetic activity and as a means of conserving humid tropical-forest tree species. She now lives east of Antigonish, contributes to Artsatlantic, writes curatorial essays, leads public art critiques and teaches at St. Francis Xavier University. She is the guest curator of Tracing Night and author of the critical essay featured in Ed Pien: Tracing Night.
Gerard Curtis, colloquium speaker: Gerard Curtis is an Associate Professor of Art History in the Department of Visual Arts at Sir Wilfred Grenfell College. After initially training as a studio artist he completed his doctorate in Art History and Theory at the University of Essex (England) in 1995. He has published a number of articles and book reviews on 19th and 20th century art and literary culture. His current academic interests include: maritime art; drawing theory and history; art and the post-modern sublime; postcolonial issues; issues of style in art and archaeology; and the impact of censorship on art and pornography. His first book Visual Words: Art and the Material Book in Victorian England was published in April of 2002. His studio art interests are in traditional and inter-media/time-based work, including video, duratrans images, performance art and a long-term project called the Fragmentary Museum.
Armand DeGrenier, colloquium speaker: Armand Huet DeGrenier, EDM, CAGS is a psychotherapist, educator and organizational consultant in private practice as Nova Quest, in Bridgewater, Nova Scotia. He has been referred as an "authentic shaman" in a contemporary tradition. His view was featured at the Frontiers of Hypnosis in Banff and Vancouver and he has presented annually at the Clinical Hypnosis Society of Nova Scotia (he is the Treasurer-Secretary) Introductory and Intermediate Seminars. He has applied his understanding of mind, view and path in the varied worlds of organizational management, (Exxon, Mobile, Sepracor, Scotia bank, Department of Fisheries and Oceans); the education and training of youth and alternate education (Nova Scotia Department of Education; South Shore Alternate school, Park View Education Centre, Forest Heights Education Centre: Project NUVA and Canta Libre alternate school) and with individuals, couples and families in integrative process therapy. Emigrating from the United States in 1988, Armand is of Canadian lineage (1643) with ancestry from France. He has served on the staff and taught at Salem State College, the University of Massachusetts and Boston University.
Elinor Benjamin, storyteller: Elinor Benjamin's interest in oral story telling began over 15 years ago, as the result of a friendship with Newfoundland fiddler and storyteller, Emile Benoit and of hearing Rita Cox, Bob Barton and Laura Simms at library conferences. She participates in conferences and workshops whenever possible, including Storytellers School of Toronto, Laura Simms' Storytelling Residency in California in 1998 and is a participant at the University College of Cape Breton's Annual Storytelling Symposium. Benjamin is a member of the Storytellers of Canada/Conteurs du Canada, The Storytellers' School of Toronto and The Canadian Children's Book Centre. She told stories at libraries, schools and concerts for 15 years before leaving work as a public library administrator to take up storytelling full-time in June 2001. She participated in Learning through the Arts , a project of the Royal Conservatory Music, working with Grades 4, 5 and 6 in School District #3. In 2003 she toured the Montreal area with TD Canadian Children's Book Week Tour. She has served on national and provincial writing contest juries, and is a member of Learning through the Arts' E-learning Artist Advisory Panel. The website that supports this project was launched April 14, 2002. She has broadcast book reviews and chats on local CBC radio for more than 10 years.
Ed Pien, Beak Boy and Friends, flash and ink on paper, 2003.
The Limestone Barrens Project
A creative exchange between Artists and Writers from Canada and Ireland
June 24 to September 25, 2004
Guest curator: Charlotte Jones.
Co-curators: Sean McCrum and Stuart Reid.
Opening Reception: July 2, 5:00 P.M. - 7:00 P.M.
Limestone is a community residency exchange between the alvars of the Bruce Peninsula through the Tom Thomson Memorial Art Gallery, Owen Sound, Ontario, and the ecological reserves along the tip of the Great Northern Peninsula of Newfoundland through Sir Wilfred Grenfell College Art Gallery, Corner Brook and the Burren of County Clare through the Niland Model Arts Centre, Sligo and the Limerick City Art Gallery, Limerick.
The Bruce Peninsula in Ontario, the tip of the Northern Peninsula of Newfoundland, and the great limestone Burren of County Clare provide geological, botanical and cultural correspondences related to survival and adaptation. As landscape, the three areas are known for the spectacular rugged beauty of the sculptural limestone outcroppings. These limestone barrens, covered with a thin layer of soil, if any at all, and marked by crevices, support an incredible diversity of plant life. These plants are survivors: usually small, often rare, and always hardy. The limestone or calcareous rock environments of the Bruce Peninsula have been described as being home to species at the extreme limits of their normal range. And, in the literature about the Burren in Co. Clare, it is noted that while the flowers found there may not be unique to the barrens, what is unusual, is for such rare plants be found in abundance and together in an environment which combines Mediterranean, Arctic and North American conditions. The Burren, however, stands in marked contrast to the other two areas because its rugged environment is the result of Bronze Age farming practices which turned the area into pastures which were subsequently overrun by the alpine and sub-arctic species of plants. A report on the Watt's Point Ecological Reserve raises the interesting question as to whether the plants in the limestone barrens of Newfoundland's Great Northern Peninsula live there because they have specific qualities which allow them to grow there or whether they have survived because there is no competition-nothing else can survive in that environment. Furthermore, these species that are forced into the less ideal habitats become the basis for adaptation and change within the species. Similarly, the three areas are bound by immigration, emigration and survival at the edges. The Grey-Bruce Co. and Newfoundland populations developed from the wave of emigration from the island of Ireland, particularly, in the 19th century-for reasons well known.
This project will ask two to three artists and two writers from all three regions to walk the three sites. They will be billeted in the respective communities. From these walks they will be asked to develop work which explores issues raised by the sites. These three regions stand as metaphor for survival and adaptation, on the one hand, and, on the other, fragility.
Linked as they are through history and culture, similar geology and botany, they also raise questions about exchange, edges and cultural attitudes towards "Nature", environmentalism and landscape. The residencies will be documented and will form the basis for touring exhibitions, a publication and other forms of public presentation. This project, using visual art and the written word, will continue to cultivate a lasting relationship between three regions which share much in character and culture. The project as an opportunity to facilitate the development of contemporary landscape art and art about the environment, particularly in new media.
Supported by Sir Wilfred Grenfell College and Sir Wilfred Grenfell College Art Gallery, the Tom Thomson Memorial Art Gallery, Limerick City Art Gallery and the Niland Model Arts Centre.
You can find out more about this project on the Limestone Barrens Project website.
Limestone Barrens: a landscape under stress is an international symposium that will be held at the Sir Wilfred Grenfell College campus of Memorial University of Newfoundland. For more about this symposium, visit the Limestone Barrens Project website.
Liam O'Callaghan, "Cape Norman", July 2003.
David Morrish, "Cape Norman", 2003.
Liam O'Callaghan, "Frost Polygons, Burnt Cape", July 2003.
Har-Prakash Khalsa, "Burnt Cape", July 2003.
Har-Prakash Khalsa, "Burnt Cape", July 2003.
April 26 to June 5, 2004
Sir Wilfred Grenfell College BFA Graduating Class 2004
Back row: Meghan McMaster, Alyssa Andrews, Candi Brushett, Amy Sceviour, Nicholas Dawson,
Nick Bolger, Pamela Pike, Matthew Hollett; middle row: Valerie Powell, Jeremy McPeake,
Austin King, David Jones, Robin Hatfield, Mandy Keeping; front: Gerri Lynn Mackey.
Sir Wilfred Grenfell College Art Gallery is pleased to present Derive, the annual exhibition of work by 15 fourth-year students of the Visual Arts Program.
The four-year BFA (Visual Arts) is an intensive studio program. Areas of study include drawing, painting, sculpture, printmaking, photography and multi-media; courses in digital imaging are also offered. Fourth-year studio courses are considered as tutorials; that is, students work independently on projects and confer regularly with instructors. The BFA program at Sir Wilfred Grenfell College is a professional program designed to educate and train students in the history, theory and practice of the visual arts.
The art gallery is an important part of the Visual Arts Program, bringing national and international contemporary and historical art exhibitions to the college. The gallery regularly hosts exhibitions by Newfoundland and Labrador artists, as well as showing the artwork of the students and the visual arts faculty and staff members.
Derive, a word of French origin, is often used in the figurative sense. It introduces the concept of a drifting sort of movement, much akin to that of a ship at the whim of the winds and currents. Guy Debord, author of Theory of the Derive, states that "slipping by night into houses undergoing demolition, hitchhiking nonstop and without destination through Paris during a transportation strike in the name of adding to the confusion, wandering in subterranean catacombs forbidden to the public, etc., are expressions of a more general sensibility which is no different from that of the Derive."
Those who Derive maintain a constant motion; however, the route is not necessarily preconceived. "The spatial field of a Derive, Debord continues, "may be precisely delimited or vague, depending on whether the goal is to study a terrain or to emotionally disorient oneself." In most cases, each Derive embodies a combination of this specificity and generality.
The art gallery will host an opening reception for Derive on Friday, May 7, 2004, from 2 p.m. to 4 p.m. All are welcome. The exhibition is open to the public from April 26 to June 5. Gallery hours are Monday to Saturday from 11 a.m. to 5 p.m.
From left to right:
Meghan McMaster, Cell Phone, 2003, branches, wire, telephone.
Candi Brushett, Sweets, 2004, mixed media.
David Jones, Relevant Material, 2004, oil on fibreboard.
Nicholas Dawson, Untitled, 2004, medium-density fibreboard, paint, tape, xerox transparencies, light
Pamela Pike, Reaction, 2004, printing plates, mixed media.
Alyssa Andrews, Behind the Seams, 2004, fabriano paper, thread, pencil, needle, traditional satin, markers, embroidery thread.
From left to right:
David Jones, Institution Two, 2004, oil on fibreboard, bolts.
Valerie Powell, Displaced Desire, 2004, bathtub, cosmetic products.
David Jones, Institution One, 2004, oil on fibreboard, aspenite.
Left: Nick Bolger, Grey, 2004, digital video.
Right: Austin King, Sea Dog - Moments - Consumption, 2004, mpeg video.
March 1 to April 8, 2003
Sir Wilfred Grenfell College Art Gallery, in collaboration with Open Studio printshop of Toronto, is pleased to present an impressive collection of serigraphs by Andy Fabo, Ed Pien, Liliana Rodriguez, Leesa Streifler, Daryl Vocat and Steven White. The artists¹ works challenge conventional thinking as they contend with social issues of contemporary culture. At the same time the collection offers a survey of current serigraph techniques. Several of the artists developed their images across disciplines to include digital prints and photo-mechanical elements.
Artists often use the print medium as only one part of their overall practice. Andy Fabo has a history of exhibition and production in painting, drawing, video and inter-media art. His digital works synthesize history, memory and nostalgia. Fabo used fragments from his archive of images to produce the autobiographical serigraphs he printed at Open Studio. Ed Pien is best known for his drawing ...
Click here to view the full article.
The Expressionist Print: Contemporary abstract expressionism at Open Studio
Guest curator Austin King, Grenfell College fourth-year Visual Arts student, developed a virtual exhibiton of abstract expressionist prints as a class project for VART 3311, (Intermediate Intaglio/Relief), taught by professor Marlene MacCallum. Sir Wilfred Grenfell College Art Gallery invited King to expand on this initial project and curate an exhibition of expressionist prints from the Open Studio archive. He selected an exciting body of work by Anne Abbass, Paul Cloutier, Faye Digulla, Astrid Ho, Maggie DoRego and Heather Yamada - artists who created and editioned ...
Click here to view the full article.
The Art of the Film Poster
(with accompanying film series
January 21 to February 21, 2004
Curated by Otto Buj. Organized and circulated by the Thames Art Gallery.
Sir Wilfred Grenfell College Art Gallery is pleased to present Representing Cinema and the Art of the Film Poster, 32 original film posters from around the world, dating between 1929 and 1974. The exhibition is organized and circulated by the Thames Art Gallery and drawn from a collection of film posters assembled over the past 10 years by guest curator Otto Buj. The following is an excerpt from his curatorial statement on Representing Cinema and the Art of the Film Poster:
"The posters illustrate how the commissioned artists subjected the filmmakers' vision to a fresh and idiosyncratic interpretation. As advertising assignments, the artists' interpretations are seen to have exceeded existing conventions of film marketing to represent the film in an original and provocative manner. What distinguishes these examples from the conventional film poster model is that the artists chose not to glorify celebrity, illustrate dramatic high points, or employ the bombastic cutlines and shrill typography that typify film posters as we are accustomed to seeing them. Instead, the artists chose to address an implicit or essential aspect of the film, preparing the viewer for a complex and subjective relationship to what they were about to see.
Such an approach to film poster design could only be fostered under certain circumstances and conditions: first, where the pressure of needing to compete in a market economy did not necessarily apply; second, where the film likely appealed to a minority of discriminating filmgoers, and was limited to finding only that audience; and finally, where a producer or filmmaker, as opposed to a marketing director, had decisive influence over the film's representation in advertising.
Unlike other (pop) culture ephemera, such as books, prints, cards, or magazines, film posters were never intended to be made available to the buying public. They were produced by the studio exclusively for use by the theatre, and were to be returned to the distributor immediately thereafter. At this point they were normally destroyed and, as a result, comparatively few have survived. Those that did survive have also had to contend with wars, natural disasters, mishandling, and the ravages of time. While additional copies of some of the posters can still be obtained with a bit of effort, a number of pieces in the exhibition are either unique or one of only a few copies known to exist.
- Otto Buj
For more about this exhibition, click here. You can also read the Gallery newsletter associated with this show.
Artist: Anna Salvatore Accattone, 1961 (Italy)
Director: Pier Paolo Pasolini, Italian, 198 x 140 cm.
Sir Wilfred Grenfell College Art Gallery is pleased to host a film series in conjunction with the exhibition. While a film poster can be enjoyed simply as a work of art or historical document, the film screenings offer an opportunity for the viewer to become familiar with the following films represented in the exhibition:
Tuesday, January 27, 4:30 p.m. AS 328
"The Criminal Life of Archibaldo de la Cruz"
Mexico, 1955, director Luis Bu-uel. 91 minutes,
Spanish with English subtitles, colour.
Wednesday, January 28, 4:30 p.m. AS 328
USSR, 1972, director Andrei Tarkovsky. 165 minutes,
Russian with English subtitles, colour.
Tuesday, February 3, 4:30 p.m. FA 224
Mexico, 1950, director Luis Bu-uel. 88 minutes,
Spanish, black and white.
Thursday, February 5, 4:30 p.m. AS 328
"A Woman Under the Influence"
USA, 1974, director John Cassavetes, 146 minutes,