Angela Grauerholz, Privation, 2001, a series of 75 ink jet prints (Giclée) on Arches paper, selection of 8, 114.3 x 92.7 cm, collection of the artist except top row, third from left (Privation Book No. 44, back cover, collection of the Montreal Museum of Fine Arts, purchase, the Canada Council for the Arts’ Acquisition Assistance Program and the Horsley and Annie Townsend Bequest).
Angela Grauerholz, Rose et bleu, 2010, ink jet print on Arches paper, 102 x 152.4 cm, collection of the artist (1/3).
Brydon Smith, Donald Judd: A Catalogue of the Exhibition at the National Gallery of Canada, Ottawa, 24 May – 6 July 1975: Catalogue Raisonné of Paintings, Objects, and Wood-Blocks 1960-74.
Brydon Smith, James Rosenquist. The National Gallery of Canada, 24 January – 25 February 1968.
Brydon Smith in front of plans for the National Gallery of Canada building on Sussex Drive, 1987. Photo: Couvrette, Ottawa.
Carol Wainio, The Governor General and The Fox, 2012, acrylic on canvas, 152.4 x 254 cm, collection of the artist. Photo: Richard-Max Tremblay.
Carol Wainio, Puss in the Subcontinent (#11), 2009, acrylic on canvas, 152.4 x 254 cm, collection of the artist. Photo: Richard-Max Tremblay.
Carol Wainio, Sagamie 1, 2011, acrylic on canvas, 152.4 x 304.8 cm, collection of the artist. Photo: Richard-Max Tremblay.
Jayce Salloum, everything and nothing and other works from the ongoing videotape, untitled, 1999-ongoing, video installation, dimensions variable, (detail: part 2 & 3b & appendixes i & iii, Kamloops Art Gallery, 2009). Photo: Ray Perreault.
Jayce Salloum and Khadim Ali, “the heart that has no love/pain/generosity is not a heart (fragments),” 2008-2010 mixed media installation, dimensions variable, (detail: Shahnameh/Rustam & Sohrab cluster, Royal Ontario Museum, 2010). Photo: Toni Hafkenscheid
Jayce Salloum, “(Kan ya ma kan) There was and there was not,” (detail), 1988-1998, mixed media installation, dimensions variable, collection of the Vancouver Art Gallery, gift of the artist and purchased with the financial support of the Canada Council’s Acquisition Assistance Program and the Vancouver Art Gallery Acquisition Fund. Photo: Tomas Svab, Vancouver Art Gallery.
Kim Adams, Auto Lamp, 2010, van, lights, 2.1 m x 4.9 m x 1.8 m, collection of the artist. Photo: Toni Hafkenscheid.
Kim Adams, Bruegel Bosch Bus (detail), 1996 – ongoing, 1960s VW bus, multiple scale model parts, action figures, 2.4 m x 4.1 m x 1.7 collection of the Art Gallery of Hamilton, acquired with the Assistance of the Canada Council’s York Wilson Endowment Award, the Muriel Baker Fund, the Russell Nelson Eden Fund and the Walter and Duncan Gordon Foundation. Photo: Toni Hafkenscheid.
Kim Adams, Don’t Look Back, 2007, copic brush pens on drywall, 3.6 m x 30.5 m. Photo: Kim Adams.
Max Dean, La mère rouge, 1992, storefront installation, variable dimensions (shown here 1.5 x 3.7 x 6.1 m, mixed media installation, horse by Gilbert Desroches, 7000 pop cans, collection of the artist.
Max Dean, Not Yours, 2011, chromogenic print, 25.4 x 20.3 cm, collection of the artist (1/6).
Max Dean, Tooth Fairy, 2010, mixed media, birch tree, mattress and box spring, steel trusses, strapping and seat belt buckle,metal cars and trucks, 3 x 3.7 x 4.9 m, collection of the artist. Photo: Max Dean.
Raymond Gervais, Claude Debussy regarde l’Amérique, 1989-90, photo, figurines, record player, tracing paper, 3 x 12.2 m, collection of the Musée d’art de Joliette. Photo: Louis Lussier.
Raymond Gervais, Finir (detail), 2012, 24 lecterns and pages of sheet music, 3.7 x 7.3 m, collection of the artist. Photo: Rosascape.
Sandra Brownlee, Suitcase with Tactile Notebooks, 1996-2008. Photo: Jack Ramsdale.
Sandra Brownlee, Unusual Animals #5, 1983, linen and silk, 38.5 cm x 38.5 cm, collection of Jann Rosen-Queralt. Photo: Jack Ramsdale.
Sandra Brownlee, Weaving in progress, Pages Series #1, 2009, cotton thread, 14 cm x 18 cm, collection of Robert Pfannebecker. Photo: Morrow Scot-Brown.
Angela Grauerholz, Reading Room for the Working Artist, 2003–2004 (installation view, VOX centre de l’image contemporaine). After Alexander Rodchenko’s reading room of the USSR Workers’ Club, conceived for L’exposition internationale des Arts décoratifs et industriels modernes, Paris, 1925. Unique mixed-media installation, collection of the National Gallery of Canada, Ottawa.
Raymond Gervais, Dans le cylindre, 1994, photo and gramophone on a table, 60 x 60 x 300 cm, collection of the Musée national des beaux-arts de Québec. Photo: Jean-Jacques Ringuette.
The winners of the 2014 Governor General’s Awards in Visual and Media Arts
were announced this morning at TIFF Bell Lightbox in Toronto, honouring a range of creators and influencers in the field.
Among the winners announced by the Canada Council are Toronto sculptor Kim Adams, Ottawa painter Carol Wainio, Vancouver media artist Jayce Salloum, Montreal photographer Angela Grauerholz, multidisciplinary Toronto artist Max Dean, and Montreal performance and installation artist Raymond Gervais. Also honoured was Sandra Brownlee, a weaver and notebook keeper based in in Dartmouth, who picked up the Saidye Bronfman Award for excellence in the fine crafts, and Brydon Smith, an Ottawa curator who gained national notoriety in 1990 when he organized the acquisition of Barnett Newman’s Voice of Fire for the National Gallery of Canada.
Each winner receives $25,000 in recognition of their excellence in their fields.
A taste for the fantastical is one of the themes that surfaces in the work of this year’s awardees, as well as the relation between fantasy and social critique.
Kim Adams is known for his large-scale and miniature sculptural assemblages that are often charged with social commentary. In 2012, he was awarded the Gershon Iskowitz Prize, and in 2013, he was named a Guggenheim fellow. Carol Wainio‘s fabulist tableaux are celebrated for being strange and evocative. As Canadian Art contributing editor Sarah Milroy noted in a 2011 review, “Solid objects segue nonsensically into sensuous brushstrokes of creamy pigment, space seems incoherent and unstable, past and present jostle uneasily, and narrative strands are left to dangle.”
Sandra Brownlee uniquely combines writing, drawing and weaving, creating notebooks that are, in her words, “sensory delights containing expressive studies and inventions, [and] objects in themselves.”
Another theme that joins many of the winners is an investigation into the meaning of images, an examination of the way images interact with physical space, and an exploration of the way images work in an increasingly mobile and globalized reality.
Jayce Salloum is known for photographic and video work that investigates ideas of wandering or itinerancy. For instance, his installation Bamiyan, co-created with Afghan artist Khadim Ali, examines the Taliban’s 2001 destruction of ancient Buddha statues through photography, video and miniature paintings.
Max Dean is recognized for his multimedia work, including photography and kinetic sculpture. It often explores, with wit and intellectual rigour, the relationships among artist, artwork and audience. For instance, at the 2012 Contact Photography Festival in Toronto, Dean exhibited and distributed some of the 600 family photo albums he has collected at paper shows, auctions and flea markets. At that time, Dean noted that photo albums are “the one, and possibly only, story many of us write.”
German-born artist Angela Grauerholz uses photography to probe themes of subjectivity, remembrance and place. In 2010, she was given a retrospective exhibition at the National Gallery of Canada entitled “The Inexhaustible Image.”
Conceptual art and its legacy comes to the fore in the work of Raymond Gervais. This important sound and installation artist recently had works included included in the touring survey of Canadian conceptual art “Traffic” and was the subject of a 2011 retrospective at multiple Montreal venues. Gervais has been a pioneering influence on the evolution of sound art in Canada.
Curator Brydon Smith has been vital to the building of contemporary-art collections in Canada, notably at the Art Gallery of Ontario and the National Gallery of Canada. In addition to Voice of Fire, he acquired Claes Oldenburg’s Floor Burger, which, in 1967, was also the subject of controversy as protesters—some brandishing a massive ketchup bottle—picketed the AGO regarding it.
The Governor General’s Awards in Visual and Media Arts were created in 1999 by the Canada Council for the Arts and the Governor General of Canada. The awards celebrate Canada’s vibrant arts community and recognize remarkable careers in the visual and media arts. Nominations are taken each spring, and winners announced the following March.
Each of the artists winning this year is to honoured at the GG’s official awards ceremony on March 26 at Rideau Hall in Ottawa. There will also be a related exhibition of the winners’ works that opens the evening of March 27 at the National Gallery of Canada.