September 29, 2012 - January 2, 2013
Organized by Glenbow Museum
In response to the thought-provoking exhibition Fairy Tales, Monsters and the Genetic Imagination, we drew from Glenbow's collection of modern and contemporary art to create an exhibition exploring similar themes.
Many of the works are recent acquisitions seen for the first time at Glenbow.
Early drawings by Marcel Dzama (including one with ink and root beer), gooey oil paintings by Andre Ethier and 14 drawings by Balint Szako sample the quirky, whimsical and sometimes gruesome narratives of these young Canadian artists. The spare collage by New York artist James Brown reads as an example of Exquisite Corpse, the Surrealist game of three-part bodies. Suzy Lake stages herself as a marionette in the large photograph, Choreographed Puppet #11 (1976). Unhappy Ending (2006), a major painting by Carol Wainio from her series of contemporary fables, has already become an important resource in Glenbow's on-line educator's program, 21st Century Learning. Pioneering Bavarian nature artist, Nils-Udo documents one of his extraordinary projects in Red Boy in Forest.
The exhibition also features some longtime favourites. The jewel-tone Bearman, by Norval Morrisseau, sets a playful tone as you ascend the staircase to Glenbow's second floor. Go to the website, www.glenbow.org/artpad for an excellent audio interview about The Officiator (1995), born of Aganetha Dyck's collaboration with honeybees, but come to the Museum to inhale the real thing.
We found a treasure trove of images that resonate with the ideas of storytelling, spirit manifestations and hybrid creatures in prints from 1959-1976 by Inuit artists Kenojuak Ashevak; Sorosiluto Ashoona; Mary Igiu and Iola Kingwatsiak; Luke Iksiktaaryuk and Barnabus Oosuah; Helen Kalvak; Kiakshuk; Mikikiak; Egevadluq Ragee; Sheouak (whose print, Pot Spirits, is one of the most popular hits on the Glenbow Collections site, First Peoples up to 1975); Angotigolu Teevee; Tudlik and Udluriak.