The Mendel Potash-Corp School Hands-on Tours 2014-15 poster features a Vic Cicansky sculpture.
SEPTEMBER 17, 2014
SASKATOON, SK CANADA — Frederick Mulder has always had a strong connection to his home province of Saskatchewan. Through his recent gift of a special collection of ceramics, the international art dealer is providing more opportunities for future visitors at Remai Modern to connect with the work of pre-eminent artist Pablo Picasso.
At an event at the Mendel Art Gallery September 17, Mulder announced his donation of 23 ceramic pieces created by Pablo Picasso. The collection, valued at $500,000, builds on an already exceptional Picasso collection. Mulder played an important role in bringing Picasso to the Prairies, by assembling the world’s most comprehensive collection of Picasso linocuts. This latest gift, from the Frederick Mulder Foundation, includes ceramic plates, tiles, vessels, vases and sculptures.
Significantly, several of the pieces are directly connected to the collection of more than 400 Picasso linocuts Mulder had assembled over a period of 10 years. The linocuts were the extraordinary gift to the new gallery of the Frank and Ellen Remai Foundation in 2012. The ceramics, to be exhibited in a gallery dedicated to Picasso and works of international modernity at Remai Modern, will give visitors further opportunities to learn about – and from – one of the world’s most renowned artists.
Many thanks to the Fred Mulder Foundation for the generous gift and ongoing support in making Remai Modern a home for Picasso’s genius.
About Frederick Mulder
Mulder grew up in Eston, Saskatchewan. He is one of the world’s experts in 19th- and 20th-century European printmaking, including the work of Pablo Picasso. He is Director of Frederick Mulder Ltd., a firm dealing in European printmaking 1470-1970. He chairs the Frederick Mulder Foundation, which supports social change projects and the arts. He is also founder of The Funding Network, a UK-based organization that arranges live, crowd-funding events in aid of social change projects. Winner of the Judges’ Special Beacon Fellowship Prize in 2004, he was made a Commander of the Order of the British Empire by the Queen in 2012.
Images-Left: Pablo Picasso, Déjeuner sur l’Herbe, red earthenware ceramic plaque, 1964, edition 30 of 50.
Collection of the Remai Modern Art Gallery of Saskatchewan. Gift of the Frederick Mulder Foundation, 2014. ©Picasso Estate/SODRAC (2014)
Right: Pablo Picasso, Le Dejeuner sur L’Herbe, d’après Manet. I, 1962, linocut printed in colours on paper. Collection of the Remai Modern Art Gallery of Saskatchewan. Gift of the Frank and Ellen Remai Foundation. ©Picasso Estate/SODRAC (2014)
Bottom Left: Pablo Picasso, Vallauris 1956, glazed white earthenware ceramic plate, 1956, ‘Exemplaire d’éditeur’ outside the edition of 100. Collection of the Remai Modern Art Gallery of Saskatchewan. Gift of the Frederick Mulder Foundation, 2014. ©Picasso Estate/SODRAC (2014)
Bottom Right: Pablo Picasso, Vallauris – 1956 Exposition, 1956, linocut printed in colours on paper. Collection of the Remai Modern Art Gallery of Saskatchewan. Gift of the Frank and Ellen Remai Foundation. ©Picasso Estate/SODRAC (2014)
January 17 to March 22, 2015
Battleground presents dozens of fascinating, woven documents of social and cultural events in Afghanistan from the last quarter of the 20th century, highlighting the critical role that creative practice plays in a global context. Curated by Max Allen, this exhibition has been organized by the Textile Museum of Canada.
The gallery spaces are CLOSED September 15 – September 27 for installation of the Fall exhibitions.
The galleries will re-open on Saturday, September 27 at 9 a.m.
Please join us on Friday, September 26 at 7 p.m. for the 50th Anniversary Launch Party, followed by the opening of Modern Visions: the Mendel Art Gallery 50th Anniversary Exhibition.
Open during Show Change:
• Gallery Shop (10 a.m. to 8 p.m. Monday to Sunday)
• Museo Coffee (9 a.m. to 6 p.m. Monday to Sunday)
Watch a time lapse video of Karen Tam’s installation process for 鸕鶿飛 (Flying Cormorant Studio [For Lee Nam]). This video represents seven days compressed into two minutes. Tam’s installation is on view until September 14, 2014, part of Convoluted Beauty: In the Company of Emily Carr.
Karen Tam is a Canadian artist whose research focuses on the various forms of constructions and imaginations of seemingly opposing cultures and communities, expressed through installations in which she recreates spaces such as the Chinese restaurant, karaoke lounge, opium den, and other sites of cultural encounters. For Convoluted Beauty, Tam considers notions of cultural, political, and social exile in her imaginative reconstruction of the studio of Chinese Canadian artist Lee Nam, a friend of Emily Carr.
Saturday, September 13 at 1 p.m.
The program connects two concurrent exhibitions, Sympathetic Magic, curated by Troy Gronsdahl, and Convoluted Beauty: In the Company of Emily Carr, curated by Lisa Baldissera. The curators will introduce the exhibitions followed by presentations from exhibiting artists Marianne Nicolson and Raymond Boisjoly.
About the artists:
Raymond Boisjoly (born in Langley, British Columbia, 1981) is an artist of Haida and Québécois descent, living and working in Vancouver. He completed his undergraduate studies at Emily Carr University of Art and Design and holds an MFA from University of British Columbia. Boisjoly’s practice engages with issues of aboriginality, language as cultural practice, and the experiential aspects of materiality. He has presented work in solo and group exhibitions in Canada and the United States including exhibitions at Simon Fraser University, Catriona Jeffries Gallery, and The Contemporary Art Gallery, all in Vancouver; The Power Plant, Toronto; Carleton University Art Gallery, Ottawa; Platform centre for photographic and digital arts, Winnipeg; and Western Bridge, Seattle. Boisjoly is participating in SITE Santa Fe, and La Biennale de Montréal. This fall, Boisjoly will serve as Lead Faculty for “In Kind” Negotiations, a thematic residency at the Banff Centre.
Marianne Nicolson (‘Tayagila’ogwa) (born in Comox, British Columbia, 1969) is an artist of Scottish and Dzwada’enuxw First Nations descent. The Dzwada’enuxw people are a member tribe of the Kwakwaka’wakw Nation of the Pacific Northwest Coast. Nicolson’s artistic training encompasses traditional Kwakwaka’wakw forms and culture as well as Western European-based art practices. Her work engages with issues of Aboriginal histories, politics, and language, arising from a passionate involvement in cultural revitalization and sustainability. Nicolson completed a BFA from Emily Carr University of Art and Design, Vancouver, in 1996, followed by studies at the University of Victoria, British Columbia, where she received an MFA (1999), a Master’s in Linguistics and Anthropology (2005), and a PhD in Linguistics, Anthropology, and History (2013). Nicolson has exhibited paintings, photographs, and installation works locally, nationally, and internationally. Recent exhibitions include the 17th Biennale of Sydney (2010) and the nationally touring group exhibition Beat Nation, organized by the Vancouver Art Gallery (2012). Her solo shows and installations include The Return of Abundance (Art Gallery of Greater Victoria, 2007) and The House of Ghosts (Vancouver Art Gallery, 2008).