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  • Richard Campbell

    Richard Campbell is a Musqueam carver who has been honing his craft for over 40 years. He comes from a family of carvers, including his grandfather, three uncles and many cousins, all of whom have influenced his approach to working in three dimensions. Campbell’s work has evolved from traditional forms to that of a modern, interpretative style.

    In addition to working in bas-relief, he has created sculptures of various scales and for different purposes. He was the main carver for the 20’ tall house post in front of the Musqueam Band Office in Vancouver and contributed to the building of the Coast Salish-style longhouse that is part of the collection of the Canadian Museum of History in Hull, Quebec.

    Alongside his artmaking practice, Campbell has worked as an archaeologist field assistant with the Musqueam Indian Band for some 23 years. Both occupations reflect his dedication to ensuring his culture lives on for future generations.

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  • James Hart (7idansuu)

    Born in 1952 into the Eagle Clan at Old Massett, Haida Gwaii, Haida master carver and hereditary chief 7idansuu James Hart has been carving since 1979. In addition to his monumental sculptures and totem poles, which can be seen at the Museum of Anthropology on campus, he is a skilled jeweler and printer and is considered a pioneer among Haida artists in the use of bronze casting. Hart is the recipient of the Order of British Columbia (2003),  an Honorary Doctorate of Letters from the Emily Carr Institute of Art and Design (2004), the Queen’s Diamond Jubilee Medal (2013), and the Audain Prize for Visual Art (2021).

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  • Elza Mayhew

    Elza Mayhew (1916–2004) was born in Victoria, BC. She received a BA from UBC (1936) and MFA (1963) from the University of Oregon. Mayhew was known for her abstract sculptures that were typically carved in polystyrene and then cast in aluminum or sometimes bronze. She worked primarily from sketches, rarely from models, and described her work as highly structured and architectural while always relating to the human form. Mayhew produced commissioned works for international events such as Expo 67, Expo 86 and an international trade fair in Tokyo, as well as for public institutions such as the Bank of Canada, the University of Victoria, the Canadian National Capital Commission and the Royal British Columbia Museum. Her work is included in the collections of the Art Gallery of Greater Victoria, the National Gallery of Canada, Simon Fraser University and the University of Victoria. Her sculpture Column of the Sea is located at the Confederation Centre of the Arts in Charlottetown. Mayhew was a member of the Royal Canadian Academy, and was an active member of the Limners Society.

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  • Robert Murray

    Robert Murray, sculptor, painter, printmaker and art teacher, was born in Vancouver in 1936 and grew up in Saskatoon. He began studying art in Saskatoon, taking courses at the Bedford Road Collegiate High School under Ernest Lindner (1897-1988) and at the Saskatoon Teachers’ College under Wynona Mulcaster (b. 1915). In 1960, after attending the Regina College School of Art (1956-1958) and the Emma Lake Artists’ Workshop led by Barnett Newman in 1959, Murray moved to New York City, where he studied at the Art Students’ League under Will Barnet (1911-2012). As an artist, Murray had started out as a painter and a printmaker but shifted his focus to sculpture beginning in 1959, when he accepted a commission to design a sculptural fountain for Saskatoon City Hall. The commission was Murray’s first attempt at designing large-scale sculptural works in metal fabricating plants. He continued in this vein in subsequent years, designing numerous monumental constructions in steel and aluminum, including the red painted steel sculpture entitled Ferus, which he produced at the Treitel-Gratz factory in New York in 1963. The work was installed on Lookout Island in Georgian Bay, ON and was shown at the Washington Square Gallery, New York in 1964 and at the Betty Parsons Gallery, New York, the following year. It was purchased in 1999 by the National Gallery of Canada, which held a Robert Murray retrospective entitled The Factory as Studio during that year. Along with the National Gallery of Canada, Murray’s work can be found in the collections of the Belkin, the Art Gallery of Ontario (Toronto), the Montreal Museum of Fine Arts, the New Brunswick Museum (Saint John) and the Whitney Museum of American Art (New York).

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  • Holly Schmidt

    Holly Schmidt is an artist, curator and educator who engages processes of embodied research, collaboration and informal pedagogy to explore the multiplicity of human relations with the natural world. Her work involves the creation of temporary site-specific projects and residencies, along with material-based explorations in the studio. Her national and international exhibitions, projects and residencies include: Vegetal Encounters (2019-21) with the UBC Outdoor Art Program, Quiescence (2019) at the Burrard Arts Foundation, A-Y with Locals Only (2018) at AKA Gallery, Pollen Index (2016) at the Charles H. Scott Gallery, Till (2014-15) at the Santa Fe Art Institute, Moveable Feast (2012) at the Burnaby Art Gallery and Grow (2011) with Other Sights for Artists’ Projects. Schmidt is grateful to live and work in Vancouver, Canada, the unceded territories of the Musqueam, Squamish and Tsleil-Waututh Nations.

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