The simple things are also the most extraordinary things, and only

The simple things are also the most extraordinary things, and only the wise can see them. Paulo Coelho
THE NEXT ART SHOW
Women in Focus | Through the Feminine Lens | Jun 26-Jul 25
RECEPTION 5:30-8pm on June 26 with an artist’s talk at 7pm
Parkside Gallery & the ladies of the Women in Focus photography group invite you to celebrate the opening night of their very first
group showing, on June 26th, titled “Through the Feminine Lens”.
The evening will feature inspiring photography and photo art from around the world, reflecting the creativity and life experiences of
contributing members, including:
Connie Sanders
Melonie Eva
Gina Myhill-Jones
Rosanne Parchomchuk
Bev Abbs
Joyce Schwab
Dawn Myers
Claudette Collinge
Kimberly L Rankin
Dale Lunniss Grinyer
Doerte Pavlik
Marilynn Kelly
Monika Paterson
Jen Oslund
Kathy Stocks
Peggie Freed
Bronwyn Begg
So come on down for a wonderful social evening where you can enjoy some great food, be inspired by an amazing display of visual arts,
and meet the phenomenal ladies of Women in Focus.
For a brief but fascinating history of photography check out:
http://www.robinurton.com/history/photography.htm
We know that photographs inform people. We also know that photographs move people.
The photograph that does both is the one we want to see and make. Sam Abell
Bobbie Crane
A Portrait of Fur and Feathers in
the Main Gallery until
June 20th
NEW AT PARKSIDE
YARN BOWLS!
To check out what else is new at Parkside check out our Facebook
Page: https://www.facebook.com/parksideartgallery
A MONET SELLS
A vibrant and beautiful painting by Claude Monet depicting the artist’s beloved Giverny gardens, which had not been offered on the
market for almost a quarter of a century, was purchased in May from the Impressionist & Modern Art auction at Sotheby’s in New York by
a Chinese private collector for $20,410,000. Representing the artist at the height of his mature style, Bassin aux nymphéas, les rosiers
ranks as one of the most important examples among the boldly modern works of Monet’s career, when he elevated the tenets of
Impressionism to new heights.
David Norman, Co-Head of Sotheby’s Worldwide
Impressionist & Modern Art Department, commented:
“Basin aux Basin aux nymphéas, les rosiers ranks
amongst the best of Monet’s depictions of the brilliant,
sun-struck expanse of his fabled water lily pond.
Having passed through the hands of celebrated dealer
and connoisseur Durand-Ruel, and with a sister
painting currently in an illustrious American institution,
this rare view of rose-covered arches (one of only
three views of this subject) is testimony to Monet’s
groundbreaking artistic innovations in the early
decades of the twentieth century. While Monet’s first
series of paintings of the water lilies (1903-08) have
long been sought by collectors, we have seen the
market for the second, heroic phase (from 1913 to his
final year, 1925) begin a rapid ascent due to collectors’
ever-increasing appetite for the highest quality works
and fuelled by the ‘modernity’ of these mature works
and their prescient nod towards abstraction. Tuesday’s
sale offered a rare opportunity to secure a work of this
caliber.”
Painted in 1913, Bassin aux nymphéas, les rosiers depicts a rose arch overlooking the tranquil surface of a pond with scattered clusters of
water lilies. The work is the largest from a series of three oils the artist produced from this precise vantage point, one of which is now
housed at the Phoenix Art Museum in Phoenix, Arizona, while the remaining work resides in a private collection. Monet offsets the bright,
bursting roses on the garden arch with their muted, pastel reflections on the pond’s surface and in response to the boundless energy of his
Giverny garden in the verdant months of summer, he has delivered a display of jubilant brushwork.
No great artist ever sees things as they are. If he did, he would cease to be an artist. Oscar Wilde
JUNE IN THE RECIPE GALLERY: STRAWBERRY YOGURT CREAM PIE
INGREDIENTS
8 oz. cream cheese
1 cup strawberry yogurt
1 Tbsp. honey
1 tsp vanilla extract
1/4 oz. unsweetened gelatin
1 1/2 cup(s) strawberries, thinly sliced
Graham cracker pie crust
3/4 cup(s) water
INSTRUCTIONS

In a large bowl, beat cream cheese until smooth. Stir in yogurt, honey and vanilla.

In a saucepan, sprinkle gelatin over 1/4 cup water; allow to soften 1 minute. Stir over low heat to dissolve gelatin.

Stir gelatin mixture and remaining 1/2 cup water into cheese mixture. Fold in 1/2 cup sliced strawberries. Pour into crust. Cover
with foil and refrigerate overnight.

To serve, top pie with remaining strawberries and ENJOY.
AN OPPORTUNITY TO SHARE YOUR ART
July 25th is Lone Butte Rocks Day in Lone Butte.
The community hall will be set up as a gallery for artists and artisans to display their works. This includes children’s art.
Please phone Byron at 250-395-7726, or Al at 250-395-5193 for further details, or to reserve a spot.
PARKSIDE CALL FOR EXHIBITION PROPOSALS
We invite artists, individuals and groups to submit proposals for exhibition at Parkside Art Gallery. Preference is given to those who reside
in the South Cariboo as our mandate is to present the works of local artists and artisans.
However if you have a unique proposal we can and will give it consideration. Deadline for submissions for the 2016 year is Sept. 30th,
2015. Drop in at the gallery to pick up a submission form, or email us to request one be sent to you, [email protected].
UPCOMING WORKSHOPS/ART LESSONS
BASIC GUIDE TO PHOTOGRAPHY WORKSHOP: JULY 6 and 7 2015 by Melonie Eva
Minimum 4 people - maximum 8 $150.00 per person
Email: [email protected] Tel: 1 250 791 5411
WORKSHOP OUTLINE
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Introduction
Essentials of a good photographer
Equipment / photo gear
Camera settings and using your gear
Maintenance and cleaning
How to hold and set up your gear
Shooting Manual (M) and Aperture Priority (AV)
Metering
Focal Points
ISO
Exposure compensation
Understanding your subject
Composition / creativity
Light and how to use it
Difficult light situations
Macro photography
This is a hand’s on workshop. Two day of theory and practical as well as assignments. We work at the groups pace and cover as much practical practise
with your camera as possible. Days to get together are based on your own schedule as well as weather.
First day theory and set up is done at my office and after that we meet at various locations to start practical in the field.
Please contact me by email with the following information should you be interested:
All your equipment and gear specs.
Camera brand Canon, Nikon, Sony etc.
Camera type: Single lens reflex (SLR), point-and-shoot or camera phone.
Tripod, bean bag, lenses, filters, etc.
Price includes: $150.00 per person
1. Basic guide to photography manual
2. 2 days of personal hands on assistance
3. Silk cloth lens cleaner
_____________________________________________________________________________________________________
ROBERTA COOMBS PASTEL WORKSHOP sponsored by the Cariboo Artists’ Guild
July 11/12, 2015 Cost: $175.00 for guild members or $190.00 non-members
If interested or wanting more info you can contact Laverne [email protected]
_______________________________________________________________________________________________
PRIVATE ART TUTORING with Neil Pinkett tailored to your needs. $20 per hour for one person, $30 per hour for groups of 2 or 3 people.
Oil and acrylic painting; murals; oil pastels; pencil; ink-pen. Enquiries: 250 397-4140 or [email protected]
________________________________________________________________________________________________
ART WORKSHOPS WITH BOBBIE CRANE
www.bobbiecraneart.ca or contact Bobbie at 250-396-7721
Acrylic workshops are usually 2 day seminars with a cost of $95- for the 2 days… plus supplies. Specific designs are instructed in these
workshops with photo and instruction package included. Private lessons are also available @ $25 per hour with a minimum 4 hour
appointment.
________________________________________________________________________________________________
DANCE CLASSES
Wednesdays 6 pm to 7:30 pm In the Studio-downstairs in Parkside Art Gallery.
For information call 250-305-9904, please leave a message.
________________________________________________________________________________________________
The beautiful thing about learning is that no one can take it away from you. B.B. King
Krista Belle Stewart Weaves an Alternate History
Was recently at the New Gallery in Calgary in May.
Review by Alison Cooley
Krista Belle Stewart probes the squishy places where collections and
archives and image-making meet. It wasn’t clear when first entering
her exhibition, “Rip Rap,” at Calgary’s the New Gallery, which
category each of the five objects on display belonged to. Every work
in the modest show, which closed on May 9, attests to some failure
of the traditional organizational schemas around which museums,
galleries and archives revolve, and works through the ways making,
remaking and unmaking might destabilize colonial images.
A portion of the work in the exhibition, arising from residencies
Stewart completed earlier in the fall at the Nisga’s Museum and
Vancouver’s Contemporary Art Gallery, has been shown before. The
musicological referents are clear: the largest work in the exhibition, a four-panel jacquard weaving entitled Sim – real / very (2015), is
distinctly anthropological in appearance. The weaving is blown-up from an image in the Nisga’a Museum’s collection (an image which also
haunts the neighbouring video work, I Only Went Briefly Beyond and Now I Have Returned), picturing a group of figures dressed in
luxuriously embroidered and embellished garments, surrounded on their right by wooden carvings.
The figures pictured are Nisga’a chiefs, all male but one. The mysterious female figure in the image is something of an anomaly, Nisga’a
chiefs generally being male. The little that is known about the image concerns its maker, Benjamin Haldane a Tsimshian photographer who
traveled through northern British Columbia and Alaska documenting both his own people, and others of the region. He took the original
photo in 1928.
This photograph’s social life has unfolded at the Nisga’a museum, both during and after Stewart’s residency. The Vancouver Sun reports
that shortly after Stewart’s stay had ended, a woman from the community came forward to identify the mysterious woman as an
important Nisga’a matriarch who temporarily took on the role of chief. It’s exactly this kind of retelling and reassertion of history that
interests Stewart, a member of the Upper Nicola Band of the Okanagan Nation, and the Nisga’a Museum is the perfect site to examine it.
Opened in 2011 as a space for objects taken from the Nisga’a nation earlier in Canada’s colonial history, and subsequently repatriated at
the behest of the community, the museum upholds a distinctive mandate. Many of its holdings were repatriated under the condition that
the Nisga’a nation maintain established standards for the care and conservation of artifacts. Much of this collection was divorced from its
original context when it was first taken, and a major task of the Nisga’a Museum is to research and tease out the oral histories related to
them.
The museum itself exists at the difficult meeting place of Indigenous sovereignty and
colonial erasure, and the photograph Stewart works with exists in a complicated place,
too: one where an image that reads as a typical example of the colonial gaze resists the
standard narrative of European-photographer-cataloguing-a-civilization-he-saw-as-ending.
By representing the image as a weaving (commissioned from Vancouver weaver Ruth
Scheuing), Stewart faces the image’s complications head on. She maps another layer of
history onto the photograph, reimagining it through the imperfect translation of textile.
Rather than presenting the photograph as an objective record of the position of light at a
specific, static moment in time, weaving rein scribes the image as a delicate maneuvering
of time and material, a process of intentional fabrication and configuration.
The position of “artifact” was further complicated in the exhibition by the display of Untitled (Handwoven Scarf made by my mother,
Seraphine Stewart). The weaving reads mostly as a contemporary object, but, placed across from the larger weaving based on the archival
photograph, suggests a tension between practical objects and decorative ones. The weaving at once recalls the tourist-trade value of
Indigenous-made objects (and the cultural cache implicit in their “authenticity”), and rejects notions of what Indigenous craft should look
like. The varied thickness of the fibres and the intuitive changes in pattern evoke the metaphor of weaving again—weaving as
accumulative, the ins and outs of threads as the formation of a pattern of meaning. Elsewhere in the gallery, a small weaving titled The
Future is but the Obsolete in Reverse, hung out from the wall so as to expose both its front and back, includes the text “Native Funk and
Flash.” This reference to a 1974 fashion book of the same title was not immediately apparent; instead, rushes of colour obscure all
semblance of representational imagery. On its back, a multicolored mass of threads blots out the text, too.
In Stewart’s collage and video works also in the show, the same careful disruption of the image’s representational quality thrives. Her
source material is archival or musicological, but in both the video and the collage her cuts obscure, return to the personal, make reference
to the image’s life in its context (and to the way that life has modulated over time, alongside changes in place).
The exhibition’s title, “Rip Rap,” made a clear insistence on the land: rip-rap refers to rocks and stones that border a shoreline to form a
barrier against erosion. But the softer associations of the words “rip” and “rap” also conjure remixing, storytelling, disruption, pulling or
teasing out threads from the tangled, knotted mass of history. In Stewart’s work, weaving involves ripping back into an image, obscuring or
messing with its original intent by puckering the fabric, displaying the heavy-threaded versos, revealing the glitches and imperfections
inherent in the process of image-making and remaking.
PARKSIDE ART GALLERY LINE-UP FOR THE REST OF 2015
Bobbie Crane | A Portrait of Fur and Feathers | May 22-Jun 20
Women in Focus | Photography Show | Jun 26-Jul 25
Cariboo Artist’s Guild | 35th Annual Show and Sale: Passage of Time | Jul 30-Sep 12 (Reception 5-7pm on Jul 30)
Open call to all our members | The Selfie (all medium) | Sep 14-23
Shirley Gibson-Bull | Art Next | Sep 25-Nov 7 (Reception 5-7pm on Sep 25)
Parkside Members | 7th Annual Christmas Bazaar | Nov 14-Dec 23 (Reception Noon-4pm on Nov 14)
PARKSIDE GALLERY HOURS
Tues - Fri 10am – 4 pm, Sat. Noon - 4pm
A Volunteer non-profit society
LOCATION/CONTACT
401 Cedar Avenue in 100 Mile House, BC.
Box 1210, 100 Mile House BC, V0K2E0
250-395-2021 [email protected]
Website: www.parksideartgallery.ca
To subscribe or unsubscribe from our email newsletters just send us a note to let us know [email protected]
What makes photography a strange invention is that its primary raw materials are light and time. John Berger