Stories that animate us

Join Zoë Chan and Diana Freundl for an interpretive tour of Stories that animate us, recorded at the opening reception on Saturday, October 5, 2024. Video: Jonathon Fulton

The Vancouver Art Gallery is recognized as one of North America’s most respected and innovative visual arts institutions.

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For more than fifty years now, Robert Davidson has worked as an artist and has produced an internationally acclaimed body of work.

Among the treasures in the collections of the Heritage Library of the Complutense University of Madrid are two of the 100 copies--one from the Faculty of Arts and the other from the Faculty of Medicine--that comprised the third edition of Francisco de Goya's series Los Desastres de la Guerra (The disasters of war). Goya's etchings illustrate events he witnessed in Madrid and Zaragoza, his birthplace and where these works were produced after he fled the court in 1810-15. These etchings were published posthumously. The collections of the British Museum hold a copy of the work that Goya gave to his friend Ceán Bermúdez, the title of which is Fatales consequencias de la sangrienta guerra en España con Buonaparte. Y otros caprichos enfaticos (Fatal consequences of the bloody war in Spain with Bonaparte, and other emphatic caprices). The images were kept in the artist's country estate, Quinta del Sordo, and were owned by Goya's son Javier until his death in 1854. In 1862 the Royal Academy of Fine Arts of San Fernando bought 80 copperplates, which were published for the first time in 1863 under the title "The Disasters of War." In 1870, Paul Lefort recovered the two remaining images, numbers 81 and 82, and donated them to the academy, completing the whole set that is held at the National Chalcography of Madrid (chalcography is the art of engraving on copper). In this series, Goya concentrates on the other side of the war: its calamities and misery. There are no major battlefield scenes: a handful of people are engaged in clashes. While the first drafts for these works contain some scenery, all anecdotal elements are removed from the final versions and the scenes become universal in their absence of detail. The war scenes are devoid of the traditional heroism and triumphalism of such representations; the artist focuses on the horror of the war in a modern and original way and surprises by not putting blame exclusively on either side. The French are condemned for the occupation and the Spanish for excessive violence. The scholar Enrique Lafuente Ferrari claims that it is likely Goya did not publish "The Disasters of War" at the time of creation for fear of an absolutist reaction, and that Ceán, in turn, added the "Emphatic Caprices" phrase to the most compromising images in an attempt to justify them. The technique used varies from work to work: along with etching, which was a novelty at the time in Spain, Goya makes use of watercolor and aquatint. Consequently, a single plate can combine different techniques. According to Lafuente, the use of etching adds to the drama in the scenes. Overall, seven editions of the work were published by 1937. The last of these editions was produced by Adolfo Rupérez, the celebrated printer of artists' engravings, with an introduction that warns "not to discard any proof of so sacred relics or they would disappear forever."

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Gallery TPW’s commissioning project Triangle Trade featured Jérôme Havre, Cauleen Smith, and Camille Turner. Created during a year of cross-border conversation on their specific relationships to land and belonging, Havre, Smith, and Turner collaborated on a new short film that featured three puppet avatars—performing the selves of Havre, Smith, and Turner—navigating distinct worlds that at once […]

Makes etchings for Illustrations for Six Fairy Tales from the Brothers Grimm, holidays in France...

Gerrish Fine Art is delighted to present a group of etchings from David Hockney’s Grimm's Fairytales suite. Hockney created 39 etchings for the series 'Six Fairy Tales from the Brothers Grimm'. The etching plates were hand-drawn by David Hockney in London between May and November 1969, proofed by Maurice Payne and printed by Piet Clement on W.S.Hodgkinson paper. Published by the Petersburg Press in association with the Kasmin Gallery in 1970.

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Museum of Indian Arts and Culture

Start at 22:00 for discussion of Ghosts

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The Float­ing Arch­i­pel­ago ani­ma­tion, 6’20” 2015 A fem­i­nist sci-fi nar­ra­tive.
 This six-minute ani­ma­tion was made using cut adhe­sive vinyl. Sound by Gra­ham Meisner

Of Awks and Owls 19 min­utes 2018 Video essay about bird extinc­tion in light of human his­to­ry and ear­ly cap­i­tal­ist exploita­tion. Voiceover of the text is played against close­ups of…

Offsite: Marina Roy June 7, 2016 Vancouver-based artist Marina Roy discusses her installation Your Kingdom to Command, which uses both natural and processed materials to create a 25 meter mural and tree fountain that stands out in contrast to the glass and concrete office towers in downtown Vancouver.

  The Royal Art Lodge, Everything, 2008, mixed media, courtesy of

The Royal Art Lodge members met when most were together in Winnipeg attending Art School, gathering to draw once weekly and continuing this practice after graduation. Some members left, and…

Strong was in Saskatoon for her exhibition at Wanuskewin Heritage Park. The exhibition: "paskwâw nîpîy" (Plains Cree for grass and water) features three films: "How to Steal a Canoe," "Four Faces of the Moon" and "Biidaaban the Dawn Comes."

The painter, quilter and writer gets a major show at the Art Gallery of Ontario. Aired on CBC's The Journal on April 24, 1987.

In the 1960s and 70s, Joyce Wieland painted, sculpted and stitched the Canadian flag and our sense of national identity. Her art called on the need to preserve its distinctness from the United States. Now, a quarter century after her death, Canadians are wrestling with questions of who and what we are as a nation. *This episode originally aired on Sept. 12, 2022.