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Beginning with the Seventies

2020 / ISBN 978-1-988860-08-4
288 pages, colour, hardcover, published with Information Office

$60
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Exhibition catalogue from the four exhibitions associated with the Beginning with the Seventies project at the Belkin: GLUT (12 January-8 April 2018), Radial Change (22 June-12 August 2018), Collective Acts (4 September-2 December 2018) and Hexsa’am: To Be Here Always (11 January-7 April 2019), edited by Lorna Brown, Greg Gibson and Jana Tyner. Looking at the relationship between art, archives and activism, the Beginning with the Seventies publication begins with the 1970s, an era when social movements – feminism, environmentalism, LGBTQ2SIA+ rights, Indigenous rights, access to health services and housing – began to coalesce into models of self-organization that overlapped with the production of art and culture. Noting the resurgence of art practice involved with social activism and an increasing interest in the 1970s from younger producers, the Belkin connected with diverse archives and activist networks to bring forward these histories, to commission new works of art and writing and to provide a space for discussion and debate. Beginning with the Seventies brings contemporary art practices into active dialogue with the past, interweaving archive with artwork, poetry, prose and critical investigation. Over seventy prominent artists and writers, and works from 1969 to 2019, are featured in the series of four exhibitions. GLUT is concerned with language, depictions of the woman reader as an artistic genre and the potential of reading as performed resistance. Circling around the embodied archive, Radial Change explores the elusive histories of Helen Goodwin’s choreography and her influence on the international interdisciplinary art scene of the 1970s. Collective Acts taps into the generative potential of archival research by artists experimenting with collective organizing and cooperative production. Finally, bringing together research, material, media, testimony and ceremony, Hexsa’a̱m: To Be Here Always challenges the concept that the practices of First Peoples are simply part of a past heritage, by bringing forward the ways that art and culture can bring new realities into being.

  • Lorna Brown

    Lorna Brown is a Vancouver-based visual artist, curator, writer and editor. Brown is a founding member of Other Sights for Artists’ Projects, and is an ongoing member of the Other Sights Producer team. She was the Director/Curator of Artspeak Gallery from 1999 to 2004, an artist-run centre focusing on the relationship between visual art and writing. Between 2015 and 2022, she was Acting Director/Curator at the Belkin, curating exhibition series such as Beginning With the Seventies that explored the relationship between art, archives and activism. Brown has exhibited her work internationally since 1984, and has taught at Simon Fraser University and Emily Carr University of Art and Design where she received an honorary doctorate of letters in 2015. Awards include the Vancouver Institute for the Visual Arts Award (1996) and the Canada Council Paris Studio Award (2000). Her work is in the collections of the Belkin, SFU Galleries, the National Gallery of Canada, the BC Arts Council, the Surrey Art Gallery and the Canada Council Art Bank.

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Related

  • Event

    Fri 6 March 2020 at 5 pm

    Sat 7 March 2020 at 1 pm

    Book Launch and Symposium: Beginning with the Seventies

    Please join us for a book launch and series of attendant events - readings, discussions, lectures - to celebrate the publication of our Beginning with the Seventies project. The program will take place on Friday, March 6 at the Musqueam Cultural Centre and Saturday, March 7 at the University Centre. Presenters include Lorna Brown, Lisa Darms, Thea Quiray Tagle, Kate Hennessy, Sarah Hunt, Yaniya Lee, Jaqueline Mabey, Allyson Mitchell and Lisa Robertson.

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  • Exhibition

    4 September 2018 – 2 December 2018

    Beginning with the Seventies: Collective Acts

    Collective Acts taps into the generative potential of archival research by artists into experiments with collective organizing and cooperative production, presenting new work by Dana Claxton, Jeneen Frei Njootli and the ReMatriate Collective, Christine D’Onofrio and Heather Kai Smith, alongside work by Salish Weavers Guild members Mary Peters, Adeline Lorenzetto and Annabel Stewart. Beginning with the Seventies: Collective Acts is curated by Lorna Brown and is the third of four exhibitions based upon the Belkin Art Gallery’s research project investigating the 1970s, an era when social movements of all kinds – feminism, environmentalism, LGBTQ rights, Indigenous rights, access to health services and housing – began to coalesce into models of self-organization that overlapped with the production of art and culture. Noting the resurgence of art practice involved with social activism and an increasing interest in the 1970s from younger producers, the Belkin has connected with diverse archives and activist networks to bring forward these histories, to commission new works of art and writing and to provide a space for discussion and debate.  

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  • Exhibition

    12 January 2018 – 8 April 2018

    Beginning with the Seventies: GLUT

    Celebrating the excessive abundance of the archive, Beginning with the Seventies: GLUT is concerned with language, depictions of the woman reader as an artistic genre and the potential of reading as performed resistance.

    [more]
  • Exhibition

    22 June 2018 – 12 August 2018

    Beginning with the Seventies: Radial Change

    How is an archive formed? Memories of performance often exceed the containment of the document, whether photography, film, prop or testimony. As communities disperse and regroup over time, figures may slip away from the centre. Circling around the embodied archive, the exhibition Radial Change is drawn from the title of a dance work by Helen Goodwin. The elusive histories of Goodwin’s choreography and her influence on the interdisciplinary art scene of the 1970s are explored in new installation works by Evann Siebens and by Michael de Courcy.

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  • Exhibition

    11 January 2019 – 7 April 2019

    Hexsa’a̱m: To Be Here Always

    Working together at Kingcome Inlet in Summer 2018, a group of artists used film, video, social media, weaving, animation, drawing, language and song to address the urgent threats to the land and water. A manifestation of the relationships formed between the participants over this past year, Hexsa’a̱m: To Be Here Always is based on sharing knowledge and respectful collaboration. Simultaneously research, material, media, testimony and ceremony, the exhibit challenges the western concept that the power of art and culture are limited to the symbolic or metaphoric, and that the practices of First Peoples are simply part of a past heritage. As Marianne Nicolson states, “We must not seek to erase the influence of globalizing Western culture, but master its forces selectively, as part of a wider Canadian and global community, for the health of the land and the cultures it supports. The embodied practice of ceremonial knowledge relates to artistic experience – not in the aesthetic sense, but in the performative: through gestures that consolidate and enhance knowledge for positive change.” Hexsa’a̱m: To Be Here Always positions the gallery as an active location for this performance, drawing together many faculties and disciplines of the university in generative exchange.

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Morris and Helen Belkin Art Gallery

University of British Columbia

1825 Main Mall

Vancouver, British Columbia,

Canada V6T 1Z2 Map

xʷməθkʷəy̍əm | Musqueam Territory

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