Serenity pervades the Asian garden for this was a place of retreat from the pressures of everyday life. It is where the elite could indulge in their “longing for mountains and waters” without turning their back on their unrelenting obligations to state and family.
For thousands of years mankind has tried to overcome the transience of Nature’s most beautiful gift: flowers. The Immortal Garden explores the ways in which artists and craftsmen have translated the beauty of the garden into objects to delight the eye of the collector winter and summer, generation after generation.
The Garden in Historical Art from the Permanent Collection
A blend of garden imagery and music, this exhibition named in honour of the Roman goddess of flowers and springtime reflects an exploration of growth, fertility, and renewal in the life cycle as expressed in art throughout the centuries.
The works in this exhibition lead us through an experience that hovers between reality and artifice. From the social construct of gardens and parks to the politics of environmental policies and precariousness of the ecosystem which we inhabit; each artist reveals new perspectives for the viewer and provides an opportunity to question how we use, alter and manipulate public and private spaces.
Silent As Glue is organized and circulated by Oakville Galleries.
This exhibition brings together work from three established North American artists, Lynda Gammon (Victoria, BC), Matt Harle (Beacon, NY) and Elspeth Pratt (Vancouver, BC). The common thread in their work is that it allows for a contemplative exploration of the relationships between architecture and space; handmade processes; the vernacular; humble everyday materials.
My public art practice is heavily inspired by street art, travel, social revolution and community collaboration, all of which have the capacity to infiltrate a personal narrative into public space. The starting point for 250 Remix is an investigation into Victoria’s urban landscape through the navigation of media, social eccentricities and areas of communal tension. Rather than recycling the politicized stereotypes of Victoria, I explore the nuances that are currently making history.
Albrecht Dürer (1471 – 1528) is acknowledged as one of the foremost German artists of the late fifteenth and early sixteenth centuries. Acclaimed as a painter and draughtsman, Dürer was most admired for his abilities as a printmaker. The collection of the Art Gallery of Greater Victoria contains 26 original Dürer prints, made possible through the gifts of several generous donors.
Chinese propaganda posters are associated with the image of Chairman Mao Zedong and the “achievements” of the Communist Party. Artists had to make depictions of what the Communist party considered the ideal of a better life and of social behavior under their Communist system.
The miniature art forms in this exhibition express the delight of the Chinese and the Japanese in small things and their aptitude for exquisite workmanship on a miniature scale. Both China and Japan boast a great range of artistic achievements in miniature. Since early times, Chinese and Japanese miniature art has been characterized by exceptional delicacy, preciseness and exquisiteness.
Since its last exhibition on samurai in 2003, the Art Gallery of Greater Victoria has received the following donations: five significant samurai suits of armour, two helmets and a number of other related paraphernalia.
Kristina Kudryk's LAB exhibition uses the Art Gallery of Greater Victoria as the basis for three large format paintings that address notions of history, collecting, picture making, and the emergence of cross cultural forms.