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Prairie Interlace: Exhibition Itinerary

Prairie Interlace
Exhibition Itinerary
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table of contents
  1. Front matter
    1. Half Title Page
    2. Art in Profile series
    3. Title Page
    4. Copyright Page
    5. Contents
    6. Minister’s Message
    7. Acknowledgements
    8. Exhibition Itinerary
    9. 1. Introduction to Prairie Interlace: Recovering “Lost Modernisms”
  2. Section 1: Recovering Histories
    1. 2. Stand Back—Nothing to See—Move Along
    2. 3. Marginalized Moderns: Co-operatives and Indigenous Textile Arts in Saskatchewan, 1960–1972
    3. 4. Métis Stories and Women’s Artistic Labour in Margaret Pelletier Harrison’s Margaret’s Rug
    4. 5. The Gift of Time, The Gift of Freedom: Weaving and Fibre Art at the Banff Centre
    5. 6. Living and Liveable Spaces: Prairie Textiles and Architecture
  3. Section 2: Contextual Encounters
    1. 7. Curating Prairie Interlace: Encounters, Longings, and Challenges
    2. 8. Weaving at the Horizon: Encounters with Fibre Art on the Canadian Prairie
    3. 9. Contextual Bodies: From the Cradle to the Barricade
    4. 10. Six Ways of Looking at Prairie Interlace
  4. Section 3: Expanding the Frame
    1. 11. Weaving in an Expanded Frame
  5. Backmatter
    1. List of Works
    2. Contributors

Exhibition Itinerary

Nickle Galleries, University of Calgary, AB, Canada

September 9–December 17, 2022

Mann Art Gallery, Prince Albert, SK, Canada

April 14–May 27, 2023

Art Gallery of Southwestern Manitoba, Brandon, MB, Canada

July 6–September 10, 2023

MacKenzie Art Gallery, Regina, SK, Canada

November 4, 2023–February 18, 2024

www.prairieinterlace.ca

Photo: dark gallery with installation spotlights on various pieces. The walls are white and have artwork and labels hanging from and attached to the walls. The center wall had the name of the installation on it.

Installation view of Prairie Interlace: Weaving, Modernisms, and the Expanded Frame, 1960–2000, Nickle Galleries, 2022.

Photo: a dark gallery with a spotlighted artwork including a wavey red-orange carpet, a red-brown-tan-grey hanging where the red imitates the shape of mountains, and a piece that is almost mask-shaped and id complex, bumpy, interwoven.

Installation view of Prairie Interlace: Weaving, Modernisms, and the Expanded Frame, 1960–2000, Nickle Galleries, 2022.

Left to right: Carol Little, Furrow, 1976 (cat. 29), Whynona Yates, Hanging, 1974 (cat. 59), Susan Barton-Tait, Nepenthe, c. 1977 (cat. 5)

Photo: a very tall white wall with one large red-green hanging surrounded by eight much smaller hangings with complex patterns. A staircase leads up along the left. A grey-black wall on the right has two hangings — one tan coloured and tiny, the other extra large, and in shade of blue with a complex pattern.

Installation view of Prairie Interlace: Weaving, Modernisms, and the Expanded Frame, 1960–2000, Nickle Galleries, 2022.

Photo: looking down at a series of twelve tall hangings that from a pyramid pattern from orange, red, pin, and yellow lines against a blue-grey background.

Installation view of Prairie Interlace: Weaving, Modernisms, and the Expanded Frame, 1960–2000, Nickle Galleries, 2022.

Kaija Sanelma Harris, Sun Ascending (12 of 24 panels), 1985 (cat. 21)

Large shaggy brown artwork in the shape of a 10-foot-tall tree stump flanked by two spotlighted pieces — once cream coloured and portrait-orientation rectangle, the other a blue-black-green-orange hanging — in a gallery setting.

Installation view of Prairie Interlace: Weaving, Modernisms, and the Expanded Frame, 1960–2000, Nickle Galleries, 2022.

Left to right: Mariette Rousseau-Vermette, Anne-Marie, 1976 (cat. 47), Katharine Dickerson, West Coast Tree Stump, 1972 (cat. 11), Ilse Anysas-Šalkauskas, Rising from the Ashes, 1988 (cat. 3)

Four pieces of art in a gallery. Far left: a weaving of a distorted face. Left-middle: a profusion of pink blobs with red nipples at the top of a brown woven tree trunk. Right middle: an extra tall blue hanging with horizontal string in the top half, solid blue in the bottom half, and a dark blue fringes at the bottom. Right: a tan, sage-green, and brown piece with 3d elements.

Installation view of Prairie Interlace: Weaving, Modernisms, and the Expanded Frame, 1960–2000, Nickle Galleries, 2022.

Ann Newdigate, Then there was Mrs. Rorschach’s dream/ You are what you see, 1988 (cat. 39), Phyllis Green, Boob Tree, 1975 (cat. 18), Mary Scott, Imago, (viii) “translatable” «Is That Which Denies», 1988 (cat. 52), Margreet van Walsem, Inside Out, 1977 (cat. 57)

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© 2023 Michele Hardy, Timothy Long, and Julia Krueger
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