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Reflecting and reconciling

The annual staff barbecue marked National Indigenous Peoples Day through décor and a special art project.

  • [Queen's University staff bbq 2018 Jill Scott]
    It all starts with a plate, and in some cases with a bun, expertly served by Hospitality Services staff and university leaders such as Vice-Provost (Teaching and Learning) Jill Scott. (University Communications)
  • [Queen's University staff bbq 2018]
    From there, staff added their choice of burger, eggplant parmesan, or other entree options, along with side salad. (University Communications)
  • [Queen's University staff bbq 2018 cake daniel woolf]
    What meal would be complete without dessert? Principal and Vice-Chancellor Daniel Woolf, with assistance from Kanonhsyonne (Janice Hill), hands a slice of cake to Nour Mazloum of he Office of the Vice-Principal (Finance and Administration). (University Communications)
  • [Queen's University staff bbq 2018 grant hall]
    Hundreds of employees packed Grant Hall and the surrounding area as part of the annual Staff BBQ. (University Communications)
  • [Queen's University staff bbq 2018 reconciliation tree daniel woolf]
    Prior to entering Grant Hall, guests had the opportunity to fill out a leaf as part of a 'reconciliation tree', sharing their hopes for reconciliation with Indigenous Peoples. Among those who added their thoughts to the tree: Principal Woolf. (University Communications)

Grant Hall was all decked out in black, red, yellow, and white – the colours of the medicine wheel – for the annual Staff Barbecue, which this year coincided with National Indigenous Peoples Day.

Hundreds of staff and faculty packed the hall to celebrate and look back on the year past and enjoy burgers, eggplant parmesan, coleslaw, pasta salad, cookies, brownies, and other barbecue favourites.

There were several tributes to Indigenous Peoples throughout the lunch, including a special art project. Indigenous students and employees who are members of the Kahswentha Indigenous Knowledge Initiative (KIKI) brought in a ‘reconciliation tree’ which employees could contribute to.

Inspired by a similar Ontario government initiative, the tree is designed to encourage both Indigenous and non-Indigenous peoples to share their hopes for reconciliation. Attendees at the barbecue were asked to complete the sentence, “My hope for reconciliation is…”, write their answer on a leaf, and add it to the tree.

Along with the décor in Grant Hall, the cake featured an Indigenous-inspired design. It included three symbols: a feather, which is considered sacred within First Nations culture; an infinity symbol, which represents the dual identity of Métis people as both European and First Nations; and an Inukshuk, which is an important symbol in Inuit culture.

In addition to being an opportunity for staff and faculty to catch up and look ahead to the summer, the annual Staff Barbecue also serves as an opportunity to gather non-perishable food items for the Alma Mater Society (AMS) Food Bank.

After the event, Hospitality Services assisted the Principal’s Office in donating all of the themed balloon bouquets and leftover unused slab cakes to the City of Kingston’s National Indigenous People’s Day event, which was still continuing for a couple of more hours at Confederation Park.

National Indigenous Peoples Day was established by the Canadian federal government to recognize and celebrate the unique heritage, diverse cultures, and outstanding contributions of First Nations, Inuit, and Métis peoples. To learn more, visit the Indigenous and Northern Affairs Canada website.

Maintaining Mohawk identity

Queen’s University and Tsi Tyónnheht Onkwawén:na are partnering to deliver a certificate in Mohawk Language and Culture.

[Queen's University Mohawk certificate Callie Hill Nathan Brinklow]
Callie Hill, Director of Tsi Tyónnheht Onkwawén:na Language and Culture Centre, looks on as Nathan Brinklow, Lecturer in the Mohawk Language and Culture certificate program, speaks at the launch event. (Photo by Katherine Kopiak)

Language forms a critical part of identity. Canada’s Indigenous languages form not only part of the country’s cultural mosaic but also carry history and meaning for millions of people from coast to coast to coast.

Yet, of the 60 unique Indigenous languages recognized by the Assembly of First Nations (AFN) in Canada, all but one (Inuktitut) are considered critically endangered. A 2009 report from United Nations Educational, Scientific and Cultural Organization (UNESCO) found that dozens of Indigenous languages in Canada were ‘near death’, and that Canada had the fifth highest number of endangered languages in the world.

In 2015, Canada’s Truth and Reconciliation Commission called on the government and the higher education sector to increase their support for Indigenous language revitalization. The intent was to ensure the languages would be passed onto the next generation, and that credentialed programs would be created to educate others in these languages.

On National Indigenous Peoples Day 2018, Queen’s University announced a partnership with Tsi Tyónnheht Onkwawén:na which would see the two organizations work together to deliver a certificate program in Mohawk Language and Culture in the community of Tyendinaga.

“To move forward in a good way, it is imperative that we forge strong alliances – such as this partnership – to ensure that we as an institution are responding appropriately to the recommendations of the TRC and to the needs of local Indigenous communities,” says Daniel Woolf, Principal and Vice-Chancellor. “This certificate is distinctive in the way it provides training in both Mohawk language and culture directly to members of the Tyendinaga community, and I am proud that Queen’s is a part of this important initiative.”

Tsi Tyónnheht Onkwawén:na is based in Tyendinaga Mohawk Territory and is dedicated to the revitalization of the Mohawk language, culture, and worldviews.

“We have been delivering Mohawk language and culture courses in the Tyendinaga community since 2004,” says Callie Hill, Director of Tsi Tyónnheht Onkwawén:na Language and Culture. “What is new and unique about this certificate is our partnership with Queen’s University and fact that students who complete the certificate will be able to apply their credits towards a degree at Queen’s. These university credits are definitely an added bonus for our students.”

The courses will be delivered by Queen’s University’s Faculty of Arts and Science, Department of Languages, Literatures, and Cultures. This certificate will provide students knowledge of the Mohawk language while embedding the students in culturally rich learning experiences. Courses will introduce students to the many traditions, histories, and worldviews of the Mohawk people.

The certificate is intended to be completed over two years. Completing the course will involve both in-person instruction along with homework and some online learning.

Thanyehténhas (Nathan Brinklow) is Turtle Clan from Tyendinaga Mohawk Territory, and will be one of the certificate’s instructors. Mr. Brinklow also teaches Mohawk language courses at Queen’s, but he grew up without speaking or understanding Mohawk.

“I did sing hymns with my grandmother, which sparked my interest in the language leading to me learning Mohawk as an adult,” he says. “In my experience, language and culture are inseparable. Mohawk is a vivid language that allows the speaker to see how previous generations encountered and interacted with the world.”

This launch follows the creation of an on-campus Indigenous Languages and Cultures certificate program, focused on Mohawk, Anishinaabemowin, and Inuktitut languages and cultures.

For more information on this new program, visit queensu.ca/artsci/mohawk

New fund to support Indigenous art at the Agnes

The Dodge Family Foundation is helping the Agnes Etherington Art Centre learn more about its Indigenous art collection.

A new fund will help the Agnes Etherington Art Centre discover the history behind some of its most important artifacts in order to guide future collection building.

The Dodge Family Indigenous Art Collection Research Fund has been established with a generous donation from Chancellor Emeritus David Dodge (Arts’65, LLD’02) and his wife, Christiane (Arts’65), to support the gallery in developing a strategy to grow its Indigenous art collection as a powerful asset for research and learning at the university and to encourage fellow alumni, friends, and faculty to support Indigenous arts at Queen’s.

“Our Indigenous art collection has accrued over a long period, and as a result, it’s quite eclectic,” says Jan Allen, Director of the Agnes Etherington Art Centre. “Our knowledge about the collection is uneven. Some of the pieces we know a lot about, others very little. Research must be done to ascertain cultures of origin and materials.”

[Indigenous frontlet art gift 2010]
Kwakwaka'wakw or Ts’msyan (Tsimshian) artist, Frontlet, undated, wood, paint, abalone shell, metal and hide. Gift of Dr. Archibald Malloch, 1910. This frontlet was used in a stirring performance by Mike and Mique’l Dangeli, of the internationally renowned Northwest Coast Git Hayetsk Dancers, at The Isabel in 2016. (Supplied Photo)

Alicia Boutilier, Chief Curator and Curator of Canadian Historical Art, says the fund will allow the Agnes to connect with communities where objects originated, including Inupiaq, Yupik, and Athabascan communities of the northwestern subarctic region.

“We are inviting knowledge keepers from that region to work with us to review and engage with the objects to give us a better understanding of what we have that’s beyond a typical museum record,” says Ms. Boutilier. “With that knowledge, we’ll have a better sense of how to move forward — what we can exhibit, how we can expand it, how we can display it, how we can even store it.”

An example of the knowledge the gallery is aiming to expand upon was realized when the internationally renowned Northwest Coast Git Hayetsk Dancers visited the collection prior to their performance at the Isabel Bader Centre for the Performing Arts in 2016.

During their visit, one of the artists, Mique’l Dangeli, discovered a frontlet — a headpiece made from wood, paint, abalone shell, metal, and hide — made by a Kwakwaka'wakw or Ts’msyan (Tsimshian) artist she believed originated from her people. She shared that, in her culture, a frontlet is used in ceremonial dance and worked with the gallery to incorporate it into their performance. With the help of conservator Amandina Anastassiades, students in the Master of Art Conservation program constructed a cradle to ensure the piece would be protected during the event.

“We were especially interested in Mique’l Dangeli’s knowledge about the traditional use of the piece — which she described as a cultural being — given we had very little information,” says Ms. Allen.

In addition to cultural insights, the Agnes will consult with a range of experts to define its goals in relation to its Indigenous art collection. This will include developing a strategy to assess potential acquisitions with research and learning in mind.

“The addition of this fund will bring us access to extraordinary expertise to advance our collection in tandem with the growth across campus of Indigenous studies and the Truth and Reconciliation Commission Task Force Implementation,” says Ms. Allen. “We need to discern where these welcome resources will be placed to ensure our work is sensitive and well-informed.”

The Dodges say their intention is to support that growing knowledge with the creation of the fund.

“Other Canadian, European and, to some extent, Inuit art has been looked at more closely and the knowledge about it has been developed over time,” says Christiane Dodge. “But, as far as I know, not that much knowledge is available about Indigenous art. It’s about time the University and the rest of the world looked at that. We hope that others will join in supporting this fund.”

Ms. Allen says the creation of a fund is timely.

“A gift like the Dodges’ is especially exciting because it meets the demands of the moment,” she says. “We’re at a time where, in order to move ahead, we need to cultivate the knowledge and participation of specific communities and there’s a cost associated with that. This is a visionary gift.”

For more information on The Dodge Family Indigenous Art Collection Research Fund or to donate, visit givetoqueens.ca

This article originally appeared on the Queen's Alumni website.

Queen's participating in Doors Open Kingston 2018

If you haven't visited the Queen's Solar Education House, the W.D. Jordan Rare Books and Special Collections, or the Agnes Etherington Art Centre, you can stop in on Saturday, June 16 as part of Doors Open Kingston.

Doors Open Kingston annually offers members of the public a glimpse inside Kingston's landmark buildings, including a number of Queen's facilities.

This year's theme looks at the Kingston women who have played an important role in the development of the city and the evolution of Canada. Some sites will focus on Kingston women leaders, artists, and visionaries who have made their mark on Canada – and whose legacies have helped shaped Kingston and the nation.

Participating Queen's venues include the Queen's Solar Education Centre, the W.D. Jordan Rare Books and Special Collection, and the Agnes Etherington Art Centre.

To learn more about Doors Open Kingston, visit the Doors Open Ontario website.

Indigenous art proposal selected by Faculty of Law

Visitors to the Faculty of Law building this fall will see a unique Indigenous art installation.

[Hannah Claus and her proposal]
Hannah Claus showcases her proposal, which consists of wampum belts made of translucent purple coloured and frosted clear acrylic sheets and hung vertically from the ceiling of the Faculty of Law building. (University Relations)

“Words that are lasting,” an artwork by Montréal (Tiohtià:ke) visual artist Hannah Claus, has been selected as the winning entry in the Indigenous Art Commission competition held by the Queen’s Faculty of Law.

This goal of the initiative is to introduce Indigenous art into the Gowling WLG Atrium of the Faculty of Law, and is an important element of the law school’s multifaceted response to the Calls to Action of Canada’s Truth and Reconciliation Commission.

“This art installation will beautifully represent Indigenous legal traditions and reflect part of the commitment of Queen’s Law to respond to the calls to action in the Truth and Reconciliation Report,” says Bill Flanagan, Dean of the Faculty of Law and chair of the commission. 

Ms. Claus’ vision involves a suspended art installation based on wampum belts that will hang from the ceiling in the law school's atrium airy expanse. Made from translucent purple-coloured and frosted clear acrylic sheets, these laser-cut forms will interplay with the natural light that floods the atrium.

“I’m elated to have my project chosen as the artwork,” Ms. Claus says. “Wampum belts are mnemonic aids utilized by the Haudenosaunee and other Indigenous peoples within oral nation-to-nation agreements. They represent legal documents as reflected in this distinct worldview. It seems a fitting acknowledgement, as Queen’s University is located on traditional Haudenosaunee and Anishinaabe territory.”

This sentiment resonated with the 12 members of the committee who chose the winning entry.

“The representation of wampum in the faculty is representative of the oldest agreements or contracts between not only Indigenous peoples and settlers, but amongst Indigenous peoples as well,” says committee member Kanonhsyonne (Janice Hill), Director of the Office of Indigenous Initiatives. “It’s most appropriate given there are wampum agreements between Haudenosaunee and Anishinaabe peoples, and so this work is representative of both groups of Indigenous peoples acknowledged as the original landholders.”

Ms. Claus is a visual artist of English and Kanien'kehÁ:ka / Mohawk ancestries and a member of the Tyendinaga Mohawks of the Bay of Quinte. She teaches contemporary Indigenous art as a sessional lecturer at Kiuna, a First Nations post-secondary institution, in Odanak, Québec, and her artwork has appeared in exhibitions across Canada and the United States, as well as in Germany, Switzerland, Mexico, and Chile.

She is now at work creating “Words that are lasting” with a goal of installing it this fall. Later this summer, Ms. Claus and renowned Indigenous architect Douglas Cardinal, a member of the Indigenous Art Commission selection committee, will jointly record a video that will highlight and explore the themes embodied in her artwork.

Building LGBTQ+ allies

An event marking International Day Against Homophobia, Transphobia, and Biphobia will explore both the personal and conceptual aspects of gender.

[Markus Harwood-Jones]
Markus Harwood-Jones will speak at Thursday's event. (Supplied Photo)

A group of employees in cooperation with United Steelworkers (USW) Local 2010, is organizing an event on campus to International Day Against Homophobia, Transphobia, and Biphobia on May 17.

“The USW Local 2010 Human Rights Committee has a mandate to raise awareness and education around Human Rights issues – which is why we chose to mark this day,” says Liza Cote, a Queen’s staff member and chair of the committee. “Having a guest speaker shed light on what it means to be transgender affords us an opportunity to increase awareness on campus.”

This free event will be held on Thursday, May 17 at noon in Mackintosh-Corry Room B201. The theme for this year’s International Day Against Homophobia, Transphobia, and Biphobia is “Alliances for Solidarity”, reflecting the need for persons from LGBTQ+ communities to find supportive communities so they can effect change and build safer environments.

It’s a theme that Markus Harwood-Jones, this year’s presenter, can relate to. Mr. Harwood-Jones is pursuing his masters in Gender Studies at Queen’s, and identifies as transgender. When he came out as transgender, he had to confront family rejection and he experienced housing insecurity. Mr. Harwood-Jones says his talk will delve into both the terms and concepts as well as the very personal experiences of being transgender.

“My hope is that those who attend will not necessarily leave with a single definition, but instead will have an interest in these terms and concepts,” he says. “I have a passion for this, and a sincere belief we can transform the world. That’s why I invite anyone who is attending to ask questions – don’t be afraid of not knowing enough or saying the wrong thing.”

Prior to joining the Queen’s community, Mr. Harwood-Jones was a student at Ryerson University where he helped found their Trans Collective, lobbying for gender-neutral bathrooms and hosting regular speaking and dinner events for the transgender community.

The United Steelworkers Local 2010 Human Rights Committee became aware of Mr. Harwood-Jones' story through Gender Studies staff member Terrie Easter Sheen, and approached him to speak. Ms. Easter Sheen says these causes are both political and personal to her – she identifies as queer; chairs the USW 2010 Pride Committee; is a Board Director of Reelout, Kingston’s queer film festival (which many Queen’s departments sponsor); and is active in the broader Kingston LGBTQ+ community.

For more information on the International Day Against Homophobia, Transphobia, and Biphobia, visit dayagainsthomophobia.org

Ka’tarohkwi Festival of Indigenous Arts headlines Isabel’s fifth season

[National Arts Centre Orchestra]
The National Arts Centre Orchestra will perform I Lost My Talk, based on the poem of the same name by Rita Joe, as part of first-ever Ka’tarohkwi Festival of Indigenous Arts. (Supplied photo).

The Isabel Bader Centre for the Performing Arts is celebrating its fifth performance season by hosting the inaugural Ka’tarohkwi Festival of Indigenous Arts, which will bring Canada’s leading and diverse Indigenous artists to the Isabel stage.

[Tanya Tagaq]
Qiksaaktu is created and performed by award-winning throat singer and vocalist Tanya Tagaq. (Supplied photo) 

The festival will kick off on March 6, 2019 with the National Arts Centre Orchestra’s performance of I Lost My Talk, inspired by the work of Mi’kmaw elder and poet Rita Joe, as well as Qiksaaktu, created and performed by award-winning throat singer and vocalist Tanya Tagaq and improvisation leader Christine Duncan. 

Other festival performances include: Resound: See Monsters + Wolastoqiyik Lintuwakonawa with Jeremy Dutcher, Bracken Hanuse Corlett, and Dean Hunt (March 22); Wani’/Lost by Lisa Cooke Ravensbergen (March 23); and Nigaani-Gichigami. Oniatari:io  (Lake Ontario) focusing on the relationships between land and timbre and the site of the Isabel, with Jeremy Dutcher, Tanya Lukin Linklater, Peter Morin, and Bracken Hanuse Corlett (March 24).

“We are excited to share this diverse array of performances by acclaimed Indigenous artists working across theatre, dance, music, film and performance art,” says Dylan Robinson, festival curator and Queen’s Canada Research Chair of Indigenous Arts. “The Ka’tarohkwi Festival of Indigenous Arts is situated on the traditional territory of the Anishinaabeg and Haudenosaunee peoples. Our inaugural festival takes its name from the Huron and Mohawk word for the lands we gather on: Ka’tarohkwi.”

The festival runs in tandem with the Soundings exhibition at the Agnes Etherington Art Centre, and two exhibitions by leading Indigenous artists at Modern Fuel Artist Run Centre. Through the festival, student and community audiences will be able to explore a deeper knowledge of Canada’s Indigenous cultures through a spectacular array of music, dance, theatre, and film, and engage in thought-provoking conversations that will arise as a result of increased cultural understanding. The festival will also support creation-based residencies and the mentorship of emerging Indigenous creators by senior Indigenous artists.

“Our fifth anniversary season features amazing artists and creators at the Isabel, with a focus on local, Canadian, and international artists,” says Isabel Director Tricia Baldwin. “What a privilege it is to work with Dylan Robinson in his role as the curator of the inaugural Ka’tarohkwi Festival of Indigenous Arts. With socially-engaged art, the artists are cultural agents of change who transform the societal agenda, as the arts are powerful tools of persuasion. With this Indigenous arts festival, tremendously talented leading artists’ imaginations will soar.”

The Isabel season also includes performances by established Canadian and international artists such as the Danish String Quartet, pianist Stephen Hough, I Musici, Tafelmusik Baroque Orchestra, the jazz funk group Shuffle Demons, the Queen of Klezmer Alicia Svigals, Rachel Podger, and recent Juno Award winners Jan Lisiecki and James Ehnes.

[Tanya Lukin Linklater]
The new work Untitled (for Soundings) by Tanya Lukin Linklater, will be performed as part of Nigaani-Gichigami. Oniatari:io. (Supplied photo)

Other performances feature emerging top talent, including the Isabel debut of recent international competition winners Seong-Jin Cho, Narek Hakhnazaryan, Nareh Arghamanyan, Juilliard415, and the winner of the Isabel Overton Bader Canadian Violin Competition, Yolanda Bruno. 

With a focus on celebrating Kingston, the new Kingston Connection series includes such artists as The Abrams, Kelli Trottier, and Miss Emily, and the Kingston Children’s Corner includes Blue Canoe Productions and Triola. The Isabel partners with Kingston’s PeaceQuest in The World Remembers with Andy Rush and the Open Voices Community Choir, and Okavango African Orchestra.

Other innovative projects include Eve Egoyan’s innovative EarWitness project in collaboration with the Tone Deaf Festival (Kingston’s annual festival of adventurous sound performance), Tafelmusik’s multi-media Bach and his World project, and a collaboration with Michael Wheeler, co-creator and artistic director of SpiderWebShow, in foldA (Festival of Live Digital Art) where SWS will engage with creators across the country.

For full listings, dates and ticketing, visit the Isabel website.

***

The Isabel is grateful for the support of its fifth anniversary season benefactor, the Joseph S. Stauffer Foundation, and the Ka’tarohkwi Festival of Indigenous Arts benefactor, Isabel & Alfred Bader Fund, A Bader Philanthropy, Kingston Connection Series supporter, the J.P. Bickell Foundation, Media Sponsor The Kingston Whig-Standard, Hotel Sponsor Delta Hotels Marriott, Kingston Waterfront, and many donors, all of whom make the world turn at the Isabel.

Five new exhibitions usher in Spring/Summer season at Agnes

  • [Aert de Gelder, The Artist’s Studio]
    Aert de Gelder, The Artist’s Studio, around 1710–1715, oil on canvas. Gift of Alfred and Isabel Bader, 2015 (58-010).
  • [Gabrielle Sims, Hook, 2014]
    Gabrielle Sims, Hook, 2014, charcoal on paper. Collection of the artist.
  • [Yam Lau, Rotation: In the texture of the world, 2018]
    Yam Lau, Rotation: In the texture of the world, 2018, video. Collection of the artist .
  • [Lega Artist, Democratic Republic of the Congo, Figure, unknown date, ivory]
    Lega Artist, Democratic Republic of the Congo, Figure, unknown date, ivory. Gift of Justin and Elisabeth Lang, 1984 (M84-017)
  • [Charles F. Gibson, Untitled (Men with Dogs, outside the Barracks of Fort Henry)]
    Charles F. Gibson, Untitled (Men with Dogs, outside the Barracks of Fort Henry), around 1832, pencil, pen and ink, and watercolour on paper. Purchase, Chancellor Richardson Memorial Fund, Donald Murray Shepherd Fund, Susan M. Bazely, John Grenville, Brian S. Osborne and Joan M. Schwartz, 2016 (59-014.03).

The Agnes Etherington Art Centre will launch its Spring/Summer season on Friday, April 27, with the introduction of five new exhibitions.

Attendees will be able to view each of the newly-arrived exhibitions – Chris Kline and Yam Lau: Weave; Gabrielle Kilian Sims: Hook; Artists at Work: Picturing Practice in the European Tradition; The Art of African Ivory; and the much-anticipated Charles F. Gibson: Events of a Military Life in Kingston.

“Our season launch brings artists, curators and art lovers together to celebrate and savour the great visual and media art of our time along with treasures of the past,” says Agnes Director Jan Allen. “This spring, we are highlighting recent acquisitions, and five deeply original new shows, including a fresh installation of the Lang Collection of African Art.”

The Members’ Preview starts Friday’s celebration at 5 pm, with in-gallery introductions to the shows. The public reception and remarks commence at 6 pm, running through to 7:30 pm. The galleries will remain open to 9 pm. A Creation Station is available for free family care in the Studio, 6-7:30 pm. Register online to save a spot.

The launch of artist Sarindar Dhaliwal’s book The Radcliffe Line and Other Geographies, will also be part of Friday’s event.

FEATURE EXHIBITIONS

Chris Kline and Yam Lau: Weave

Canadian artists Chris Kline and Yam Lau present Weave, a two-person exhibition that reflects precise involvement in the fields of force of materials. The artists’ respective works find surprising affinities: Kline’s tender and rigorous hand-coloured paintings contrast with Lau’s gliding cinematic movements through simulated space, while both artists are intimately involved with the entanglement of idea and substance, being and becoming, memory and form, especially as woven through or across screens.

Artists at Work: Picturing Practice in the European Tradition

For the early modern artist of 17th- and 18th-century Europe, the studio was the site of the vital study, creative exercise and network cultivation that fostered professional success. The relics of these practices are on display in Artists at Work: Picturing Practice in the European Tradition as a celebration of the physical and intellectual pursuit of creativity. From images of the studio to portraits meant to promote the artist’s reputation, the works in this exhibition have been assembled to describe the process of the early modern European artist and reflect the continuation of this tradition into Canadian conventions. Featured artists include Jacques Philippe Le Bas, William Etty, Baldassare Franceschini, Antonio Gabbiani, Aert de Gelder, Ludovico Gimignani, Willem Horst, Ignaz Sebastian Klauber, Bill Roff, William Sawyer, and Abraham Susenier.

Gabrielle Kilian Sims: Hook

This exhibition gathers a poignant selection of Gabrielle Kilian Sims’s recent drawings. Figurative works in charcoal and ink, they are charged with the anguish of grief and explore the feelings of dread, outrage and tenderness compelled by conditions of entanglement and loss. A Kingston resident, her art has been exhibited in Canada, United States, Europe and Qatar and is held in public collections including the Canada Council Art Bank.

The Art of African Ivory

Africans have traded raw and carved ivory for centuries. Its lustrous sheen makes it desirable, as does the brute majesty of its source: Africa is home to the world’s largest elephants. Across continents, ivory objects are used in rituals—rites of prestige and pageantry rolled into one. Desired by a range of bodies—political, social, medicinal, religious—ivory sparks discussion of history and debates about ecological and wildlife preservation. This exhibition showcases works donated by Justin and Elisabeth Lang. Visitors will discover how Africans have used ivory to teach morality, convey social standing, heal wounds, safeguard communities and commercially profit.

Charles F. Gibson: Events of a Military Life in Kingston

While stationed in Kingston as an Ensign in 1831-1833, Charles Frederick Gibson painted the landscape and activities around him. This exhibition features his Kingston watercolours and drawings, alongside works by other contemporary artists, such as Lt. Edward Charles Frome, Sir Richard Henry Bonnycastle and Harriet Dobbs Cartwright. Through Gibson’s eyes, we experience Kingston of the 1830s, as events of a military life unfold, both quotidian and monumental: from painting and sketching, to disease and ill-health, to the construction of the Rideau Canal and re-building of Fort Henry.

For more information visit the website for the Agnes Etherington Art Centre.

An (un)titled exhibition

  • Leigha Stiles, student co-chair of the Bachelor of Fine Arts graduating show (Un)titled.
    Leigha Stiles, student co-chair of the Bachelor of Fine Arts graduating show (Un)titled, created wearable sculptures for her exhibition (un)wavering.
  • Alyssa Dantes, (un)censored
    Alyssa Dantes, (un)censored
  • Carrie Emblem, (un)bounded
    Carrie Emblem, (un)bounded
  • Jordan Thompson, (un)alien
    Jordan Thompson, (un)alien
  • Victoria Kim, (un)bearable
    Victoria Kim, (un)bearable
  • Eliane Findley, (un)breakable
    Eliane Findley, (un)breakable

Ontario Hall is filled with the artwork of the Bachelor of Fine Art (BFA) program graduating class, transforming the stalwart century-old building into an art gallery for a week.

A total of 19 graduating students have staged their pieces throughout the building for (un)titled., with each having their own exhibition space. The pieces range from large canvas paintings to small sculptures to multimedia installations filling an entire room.

For the artists it is an opportunity to stage their own exhibition, bringing together the experiences they have gathered over their years at Queen’s, says Leigha Stiles one of the student co-chairs of the event.

“There’s a sense of pride in our program and what we’ve accomplished this year, and for all four years I have been here,” she says, standing amongst her wearable sculptures. “It’s very exciting but also sad in a way since (our time at Queen’s and in the program) is ending.”

Each student's exhibition displays a research-based body of work that they have devoted an entire academic year to, points out Alejandro Arauz, Lecturer and exhibition liaison for the BFA program.

“If you look at the individual works there is an interesting array of relevant, present and past issues that are elaborated upon through visual art,” he says, adding that he is impressed by the students’ overall efforts in coming together to prepare for the show as well as the high standard in their individual practices. “The works that they make contribute to various discourses and human understanding. It’s like a thesis paper except here it’s a visual thesis contribution.”

Further information and images of the artwork are available at the exhibition website.

More information about the program is available at the Fine Art (Visual Art) Program website.

Remembering the neutrino

Nobel Prize-winning science was celebrated at a special event. 

  • [Photo of John Fisher, Daniel Woolf, George Ewan, Art McDonald, and Jan Allen]
    VIPs pose with the Nobel medal display at the Agnes. L-R: Marc Dignam, Head of the Physics Department; John Fisher, Interim VP (Research); Daniel Woolf, Principal; George Ewan, Professor Emeritus; Art McDonald, Nobel laureate; and Jan Allen, Director of the Agnes Etherington Art Centre. (Photo by Bernard Clark)
  • [Nobel Medal Replica]
    A replica of the Nobel Prize medal won by Art McDonald is now permanently on display at the Agnes Etherington Art Centre. (Photo by Bernard Clark)
  • [Past and present Sudbury Neutrino Observatory (SNO) employees and their family members]
    Proving that research is a team effort, past and present Sudbury Neutrino Observatory (SNO) employees and their family members gather around the plinth. (University Communications)
  • [Janet McDonald and other attendees]
    Janet McDonald (foreground), wife of Art McDonald, and other spectators flip through the plinth's pages. (University Communications)
  • [George Ewan, Art McDonald, and Daniel Woolf]
    George Ewan, Art McDonald, and Daniel Woolf pose with chocolates resembling the three 'flavours' of neutrinos. (University Communications)

On Monday, representatives from across the Queen’s community gathered to celebrate two new installations that will commemorate the Nobel Prize-winning research discoveries of the Sudbury Neutrino Observatory (SNO) scientific collaboration led by Dr. Art McDonald, Gordon and Patricia Gray Chair in Particle Astrophysics Emeritus in the Department of Physics, Engineering Physics, and Astronomy at Queen’s.

Dr. McDonald was the co-recipient of the 2015 Nobel Prize in Physics for his discovery of neutrino oscillations, a phenomenon which proved that neutrinos have mass. He shared the prize with Takaaki Kajita of the University of Tokyo, whose research made similar detections possible.

Neutrinos, which are sometimes referred to as the ‘building blocks of the universe’, are tiny subatomic particles with almost no mass and no charge. The SNO Collaboration’s discovery increased human understanding of these particles, which ultimately helps scientists understand how stars, galaxies, and the universe itself has evolved since the Big Bang.

To celebrate the discovery, the university has unveiled a monument between Ontario Hall and Grant Hall to share the fascinating story of the neutrino breakthrough with visitors to campus. This plinth is part of the Queen’s Remembers series, an initiative that commemorates those who have made significant and noteworthy contributions to Queen's University.

“Queen’s University has been wonderfully supportive of the SNO research work and continues to support strongly the ongoing work at the SNOLAB underground laboratory,” says Dr. McDonald. “Those of us who have worked on SNO are very appreciative of this commemoration of the important contributions of many Queen’s students, post-doctoral fellows, staff, and faculty that led to this scientific success.”

Additionally, a replica of Dr. McDonald’s Nobel Prize medal will be permanently displayed at the Agnes Etherington Art Centre. The display will be located in a busy hallway between the gallery and Etherington House, and will include details about the experiment.

“The research conducted by the incredible team at SNO, under the leadership of Dr. Art McDonald, has an impact that goes far beyond Queen’s University,” says Daniel Woolf, Principal and Vice-Chancellor. “The vision of those who started the collaboration, including Dr. George Ewan, Professor Emeritus of the Physics Department at Queen’s, and the late Dr. Herb Chen, and the dedication of all who have worked on it since, have helped Canada become a leader in the field of particle astrophysics. We are delighted to recognize and celebrate their achievement with these two inspirational displays.”

Previous Queen’s Remembers plinths have recognized the traditional inhabitants of the Kingston area—the Anishinaabe and the Haudenosaunee peoples—and the 5th Field Company, a group of soldiers primarily comprised of Queen’s students and faculty who served and gave their lives in both World Wars. To learn more about the Queen’s Remembers initiative, visit the Queen’s Encyclopedia.

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