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Jamelie Hassan: International Developments

Jamelie Hassan Because...there was and there wasn't a city of Baghdad 1991

Despite the reputation that London, Ontario, earned as a regionalist hotbed in the 1960s, Jamelie Hassan—born, raised and based there—has consistently produced art that is international in its scope. The sweep of Hassan’s work on cultural history, social activism and politics takes form in the artist’s first major survey, an exhibition hosted by the Morris and Helen Belkin Art Gallery that delves into production from as far back as 1971. The wide-ranging installation features works likely lodged in our collective memory, such as Because… there was and there wasn’t a city of Baghdad, a 1991 billboard displayed in various Canadian cities in response to the Gulf War. But Hassan also produces similar effects in lesser-known works in various media, with 1980s watercolour paintings like Common Knowledge coming across as simultaneously delicate and forceful, collective and personal. Through photography, installation, painting, lightworks and ceramics, Hassan articulates her position, which covers so much ground. The expansiveness of this practice is also reflected in the venues for the show, which include the Museum of Anthropology at UBC and the Walter C. Koerner Library. (1825 Main Mall, Vancouver BC)

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