Publications

Jaimie Isaac: Brings to Light, 2023, Introduction by Jennifer Gibson. 68 pages, illustrated, soft cover. $15.00 for print book with proceeds donated to the Indian Residential School Survivors Society.

Brings to Light extends the impact of Jaimie Isaac’s exhibition. It includes intergenerational contributions by the artist's grandmother Elder Mary Courchene, mother Elaine Isaac, and son James Isaac-Fehr, beautiful illustrations of the artworks, and a series of compelling texts written by the artist, her sister Dawn Isaac, and scholar Lorena Fontaine. Here, as in the show, Isaac and her kin grapple with intergenerational Indigenous experiences of trauma, memory, resilience, and reclamation to teach us that we must never forget the harms of the past and to honour the survivors and all those who bring awareness to “the beauty of Indigenous knowledge”.

Grace Nickel: Eruptions, 2022, Essay by Heidi McKenzie. Introduction by Jennifer Gibson. 28 pages, illustrated, soft cover. $10.00 for print book or downloadable as PDF file below.

Eruptions [PDF 2.5 MB]

Eruptions is an exhibition catalogue of new and recent sculptural installations by Winnipeg artist Grace Nickel in which she collects, studies, transforms and memorializes felled trees and forest fragments in porcelain. Applying an archaeobotanical lens to her research, Nickel references the life cycle of living organisms and varied forms of ceramics production, including experimentation in photogrammetry with her collaborator Michael Zajac. Nickel’s conceptual and technical processes are thoroughly considered in Heidi McKenzie’s clearly written contextual essay, “Regrowth and Reimagining.”

Katherine Boyer: Water Meets Body, 2019, Essay by Cathy Mattes. Introduction by Jennifer Gibson. 8 page brochure with sleeve, illustrated. $5.00

This brochure documents Katherine Boyer's solo exhibition Water Meets Body, featuring video, sculptural and textile works rooted in the artist's personal family narratives, and Métis history and material culture more generally. An insightful essay by art historian Cathy Mattes explains that Boyer's work "embodies the ways in which Métis people continue to gather and kindle culture and kinship ties ... [and] is a metaphorical presentation of 'home', and an expression of Métis presence and experience on the land."

locating the little heartbeats: Julie Nagam, 2019, Essay by Dr. Niigaan Sinclair. Introduction by Jennifer Gibson. 24 pages, illustrated, soft cover. $10.00 for print book or downloadable as PDF file below.

locating the little heartbeats [PDF 2.0 MB]

locating the little heartbeats is an exhibition catalogue of a site-specific multi-media installation by Métis artist Julie Nagam that incorporates drawing, painting, photography, sculpture, video and sounds from nature to create a “living ecosystem” that considers the properties and lifelines that plant life offers the human world. Dr. Niigaan Sinclair’s publication essay, “Seeing our Medicines”, contextualizes the exhibition. He writes: “Nagam calls for us to collect an understanding of the medicines around us; this knowledge, like our relations, is and are still here.”

Not the Camera, But the Filing Cabinet: Performative Body Archives in Contemporary Art, 2018.
Curated by Noor Bhangu. Essays by Noor Bhangu and Dunja Kovačević, poetry by Sharanpal Ruprai. 36 pages, illustrated, NFS. Downloadable as PDF file below.

Not the Camera, But the Filing Cabinet Double Page Reader Spreads [PDF 4.4 MB]
Not the Camera, But the Filing Cabinet Single Pages [PDF 46.8 MB]

Not the Camera, But the Filing Cabinet: Performative Body Archives in Contemporary Art documents and interprets an exhibition of the same title presented at Gallery 1C03 in the fall of 2018. Curated by Noor Bhangu, a recent graduate of the University of Winnipeg’s Master’s program in Cultural Studies: Curatorial Practices, the exhibition features work by ten local, national, and international artists that explore memory, history and representations of the female and non-binary body through painting, drawing, photography, sculpture, video, audio and performance. Not the Camera, But the Filing Cabinet makes space for and asserts the importance of memories and stories held by marginalized voices: those of women, non-binary, queer, Indigenous and people of colour. The illustrated publication includes a curatorial essay, poetry by Sharanpal Ruprai and a critical response by Dunja Kovačević.

Littoral Landscape: Tracy Peters, 2018, Essay by Willow Rector. Introduction by Jennifer Gibson. 16 pages, illustrated. NFS. Downloadable as PDF file below.

Littoral Landscape: Double Page Reader Spreads [PDF 34 MB]
Littoral Landscape: Single Pages [PDF 34 MB]

Littoral Landscape documents a solo exhibition of new multi-media installations by Tracy Peters that investigates the ever-shifting shorelines of Lake Winnipeg. Through this body of work Peters considers time-based exchanges between natural and human occurrences along the lakeshore, responding with emotive sculptures and videos that point to the poignancy of this fragile ecosystem. Writer and visual artist Willow Rector contributes a thorough and sensitive interpretation of the works in the exhibition, revealing the many layers of meaning behind Peters’ art.  

What Flies Above: Erika Lincoln and Reva Stone, 2018, Essay by Emily Doucet. Introduction by Jennifer Gibson. 24 pages, illustrated. NFS. Downloadable as PDF file below.

What Flies Above Double Page Reader Spreads [PDF 8 MB]
What Flies Above Single Pages [PDF 66 MB]

This illustrated online pdf publication is a record of the two-person exhibition What Flies Above which featured digital installations and 3D printed sculptures by Winnipeg artists Erika Lincoln and Reva Stone that consider the socio-political implications of drones.  Scholar Emily Doucet writes a critical contextual essay that questions society’s cultural emphasis on the novelty of drones as a distraction from larger issues of their operation within “ancestral systems of imperial violence.” An introduction is provided by exhibition curator Jennifer Gibson.  

Moving Images, 2017. Curators Jennifer Gibson and Alison Gillmor. Essay by Alison Gillmor. Creative responses by Roewan Crowe and Jonathan Ball. 32 pages, illustrated. NFS. Downloadable as PDF file below.

Moving Images Single Pages [PDF 10 MB] 

Moving Images is an online pdf publication produced in affiliation with a Gallery 1C03 exhibition of 23 short films created by professional artists who have an association with the University of Winnipeg – current and former students and faculty. The exhibition featured five thematic shorts programs that changed on a weekly basis. Moving Images was accompanied by a smaller exhibition in the University Library’s Hamilton Galleria called “The Tender Fragments.” This show presented cinematic collages by Guy Maddin alongside his interactive on-line film project “Seances” which he created with Evan and Galen Johnson. The publication includes an introduction by Gibson, a curatorial essay by Gillmor and creative responses by writers and academics Roewan Crowe and Jonathan Ball. Crowe offers a rejoinder to “Moving Images” while Ball’s text replies to “The Tender Fragments.”

Cafeteria: Elvira Finnigan and Lisa Wood, 2017, Essay by Natalia Lebedinskaia. Introduction by Jennifer Gibson. 24 pages, illustrated. NFS. Downloadable as PDF file below.

Cafeteria Single Pages [PDF 32 MB]
Cafeteria Double Page Reader Spreads [PDF 32 MB]

Cafeteria is an online pdf publication that documents a series of two exhibitions in which Manitoba artists Elvira Finnigan and Lisa Wood collaborated to explore the culture of the university dining hall. Wood, a painter, and Finnigan, who uses salt brine as a material and a method, employ various media to consider the act of eating together and to question how sharing a meal might be recorded and remembered. The first exhibition highlighted the artists’ processes while the second show featured finished works. The publication includes an essay by guest writer Natalia Lebedinskaia who considers this project in the context of the relatively recent development of “relational aesthetics” and also places it within a larger art historical framework.

Ashley Gillanders: Methods of Preservation, 2016. Essay by Dr. Susan Close. Introduction by Jennifer Gibson. 24 pages, illustrated. NFS. Downloadable as PDF file below.

Methods of Preservation Single Pages [PDF 12.7 MB]
Methods of Preservation Double Page Reader Spreads [PDF 10.2 MB]

Gallery 1C03’s second online pdf publication, Methods of Preservation, documents an exhibition by emerging Winnipeg artist Ashley Gillanders. Gillanders created a series of photographic sculptures of tropical house plants enclosed by Plexiglas covers and perched on pedestals. Her goal is to both confront and accept conventional definitions of the medium of photography. On the one hand she seeks to challenge the two-dimensional physicality of the photographic print; however, she also acknowledges that she works within photography’s tradition of capturing a particular moment in time. Methods of Preservation includes a contextual essay by art historian Dr. Susan Close.

Mark Neufeld: Re-enactments, 2015. Essay by Sigrid Dahle. Introduction by Jennifer Gibson. 32 pages, illustrated, soft cover. NFS. Downloadable as PDF file below.

Re-enactments Single Pages [PDF 96.5 MB]
Re-enactments Double Page Spreads Smaller File Size [PDF 20.8 MB]

This online pdf publication is a record of Mark Neufeld’s Re-enactments exhibition installation at Gallery 1C03 wherein the artist used painting, collage, theatre, repetition, the found object, borrowed aesthetics, and presentation strategies from the curatorial domain to think about history and geographic place – specifically Winnipeg, and aspects of colonial-era Western Canada – that live on in the present day. In the Gallery, the assembled pieces functioned as a theatrical mise-en-scène that was ‘activated’ periodically over the course of the exhibition’s run, by the presence of actors Gwen Collins and Andraea Sartison, using a script that takes the historical re-enactment genre as its departure point. Re-enactments features an essay by independent art writer Sigrid Dahle.

Willow Rector: Trapped, 2015. Essay by Helen Delacretaz. Introduction by Jennifer Gibson. 44 pages, illustrated, soft cover. $10.00

Emerging artist Willow Rector creates textile embroideries and sculptures that explore the complex question of identity as it is rooted in our experiences of sexuality, desire, the topography of home, and the cultural narratives of our national identities. This publication documents work from two series – Trapped and This is a Photograph of Me – that the artist produced for her solo exhibition at Gallery 1C03. The book includes a contextual essay by former Winnipeg Art Gallery Chief Curator Helen Delacretaz that considers Rector’s unexpected interventions into the history of art with pieces that hover between painting, sculpture, and textiles.  Her hand embroidered animal pelt sculptures, in particular, examine the influence of the Group of Seven on our understanding of the Canadian landscape and offer the possibility of new, alternative visual chronicles of place.

Patrick Mahon – Water Structures: Printed Sculptural Works, 2012-2014, 2014. Texts by Anne Brydon, Ihor Holubizky, Robert Enright, and Patrick Mahon. 60 pages, illustrated, soft cover. $20.00

Patrick Mahon is noted for his print-based projects that, by engaging with historical and contemporary aspects of printmaking, respond to gallery and museum collections. Mahon’s work also establishes community-based art initiatives, including several regarding the environment. This publication features three major exhibitions held at Gallery 1C03 in Winnipeg, Robert Langen Gallery in Waterloo, and McMaster Museum of Art in Hamilton. Together they provide an excellent overview of the artist’s practice. With Voyageur, Mahon juxtaposes his graphic/wall sculptures with prints by Dürer, Hogarth, and by contemporary artists, thereby examining the critical role of visual art in moral teaching in the West. In Water Memory Table Mahon’s printed sculptural installations reference shifting environmental conditions through an investigation of built structures. Water and Tower Allegory uses solids and liquids to produce provocative forms of invention and human enterprise. Original essays and an interview with the artist explore the many facets of a singular artistic career. Co-produced with Robert Langen Gallery and McMaster Museum of Art.

Herstory: Art by Women in The University of Winnipeg Collection, 2014. Curator Laura White. Introduction by Jennifer Gibson. 48 pages, illustrated, soft cover. $15.00

Catalogue of a group exhibition of contemporary and historical art from The University of Winnipeg’s collection by Manitoba women artists. Featured artists include Eleanor Bond, Sheila Butler, Caroline Dukes, Aganetha Dyck, G. N. Louise Jonasson, Wanda Koop, Rosemary Kowalsky, Alison Newton, Daphne Odjig, Dominique Rey, Sheila Spence, Eva Stubbs, and Diana Thorneycroft, among others. Herstory highlights the themes and subjects these artists have examined in their work, from portraiture and the body to landscapes and narratives. It also considers how “the feminine” and feminist notions (if any) have been approached and interpreted by these artists. White’s essay also provides some context for the Manitoba art scene over the last century and how this history is connected to the work of the artists included.

Frank Shebageget, 2013. Essay by Jenny Western. Introduction by Jennifer Gibson. 44 pages, illustrated, soft cover. $10.00

Respected Anishinabe artist Frank Shebageget uses modernist forms and repetition to critically investigate symbols of Indigenous-settler contact that have personal historical resonance. This publication documents two site-specific sculptural installations that the artist created for his solo exhibition at Gallery 1C03 and The University of Winnipeg’s Anthropology Museum. It features a contextual essay by contemporary art writer Jenny Western that considers Shebageget’s use of specific materials and minimalist approach to subvert the homogenizing objectives of colonial history and modernism.

Storytime: Glen Johnson & Leslie Supnet, 2013. Essay by Tom Kohut. Introduction by Jennifer Gibson. 60 pages, illustrated, soft cover. $15.00

In Storytime, writer/performance artist Glen Johnson and visual artist/animator Leslie Supnet collaboratively create paired stories and drawings that replicate children’s-style books, but with a subtly adult tone. This illustrated publication features a critical essay by Tom Kohut which employs Gertrude Stein’s unit of composition to consider the unexpected trajectories of Johnson and Supnet’s work.

Swoon: Evan Tapper, 2010. Essay by Jane Cahill. 6 pages, illustrated brochure. $3.00

Chair of the University of Winnipeg Classics department Dr. Jane Cahill elucidates Tapper's Swoon, a site-specific multimedia installation which considers art historical images, literary references, and contemporary discourse in its exploration of gender-based power dynamics behind the classical myth of Leda and the swan.

wind coil sound flow: Ken Gregory, 2009. Essay by crys cole. 6 pages, illustrated brochure. $3.00

Respected contemporary Canadian artist Ken Gregory seeks to render nature's orchestra of sounds more obvious and powerful through the presentation of a large-scale instrument-kite hybrid sculpture, revealing the very cause of sound we seem to overlook: movement.

INTERVAL: Rodney LaTourelle, 2009. Essay by Neil Minuk. 6 pages, illustrated brochure. NFS

Architect Neil Minuk contextualizes Rodney LaTourelle's site-specific, interactive installation of twin chevron-shaped corridors in Gallery 1C03 and the University's Hamilton Galleria as a homage to the soul of Centennial Hall, the modernist building in which INTERVAL was placed.

(Re)Visiting the Collection: Selections of Manitoba Art from the University of Winnipeg, 2008. Curator Jennifer Gibson. Essays by Patricia E. Bovey and Sarah McKinnon. 56 pages, illustrated, soft cover. $20.00

Catalogue of a group exhibition featuring 40 works by 25 Manitoba artists from the University's art collection, including Caroline Dukes, Aganetha Dyck, Bruce Head, Wanda Koop, Winston Leathers, Bill Lobchuk, Daphne Odjig, Walter J. Phillips, Tony Tascona, Diana Thorneycroft, and others. Includes essays on the development of the collection and the establishment of the campus art gallery, Gallery 1C03.

Show + Tell: Notions of Home and Place by Alumni, 2007. Curator Jennifer Gibson. Essay by Alison Gillmor. 32 pages, illustrated, soft cover. $15.00

Catalogue of a group exhibition featuring works by 13 artists who are graduates of The University of Winnipeg including Steve Bates, Richard Dyck, Leah Fontaine, Allan Geske, Richard Hines, Glen Johnson, Blair Marten, Kegan McFadden, Solomon Nagler, Freya Bjorg Olafson, Paul Robles, Donna Szoke, and Racheal Tycoles. In her essay, alumna Alison Gillmor points out how Show + Tell artists have interpreted the theme of home in diverse ways: some pieces are highly personal and place viewers in the role of voyeur; others emphasize different cultural perspectives; and still others are especially conceptual in nature.

casualty, 2007. Curator Sigrid Dahle. Essays by Lorna Brown, Bernie Miller and Sigrid Dahle. 48 pages, illustrated, soft cover. $10.00

Independent curator Sigrid Dahle employs text-based work by Lorna Brown and a sculpture by Bernie Miller to create a slick, minimalist installation that points to the seductive violence of a market-driven society, one that consumes us and leaves no space for thoughtful contemplation.

Greg A. Hill: Tekwanonhweraton tsi ken'en Kanata nitisewenonh / Welcome to Kanata / Bienvenue a Kanata, 2005. Essays by Greg A. Hill, Elizabeth McLuhan and Catherine Mattes. 36 pages, illustrated, soft cover. $8.00

With his installation Welcome to Kanata, multidisciplinary Mohawk/French-Canadian artist Greg A. Hill explores Aboriginal sovereignty through a reinvention of Canadian identity. The passport-style publication documents Hill's performance as a customs officer, his border crossing video, nationalistic paraphernalia, and large-scale digital prints. In their texts, Hill, McLuhan, and Mattes prompt readers to question signifiers of national and individual identity.

William Eakin: Reunion, 2003. Essays by Cliff Eyland and Jennifer Gibson. 40 pages, illustrated, soft cover. $10.00

A meditation on mortality, Eakin's hauntingly beautiful images of deteriorating headstone portraits from a Venice cemetery revisit those who have passed and introduce them to the living long after their loved ones have said good-bye.

Andrew Valko: Night Paintings, 2001. Essay by Jennifer Gibson. 4 pages, illustrated, brochure. $3.00

Gibson's essay considers the hyper-realist works of Winnipeg artist Andrew Valko which capture fleeting moments in time at cheap motels and drive-in movie theatres. Drawing upon the age-old tradition of viewer as voyeur, Valko's figurative narratives display a sense of ambiguity, evoking more questions than answers.

Nursery Rhymes By Sheila Butler, 2000. Curator Sarah M. McKinnon. Introduction by Jennifer Gibson. Essays by Sheila Butler and Gary Michael Dault. 36 pages, illustrated, soft cover. $8.00

Catalogue of a solo exhibition at Gallery 1C03. This series of drawings by Sheila Butler explores contemporary modes of parenting, deconstructing traditional imagery associated with portraits of mothers and children, and pointing to the cross-gendered nature of child-rearing today. Dault's essay examines how Butler's images ask us to reconsider concepts of time and space in the domestic realm.

Cities: Caroline Dukes, 1998. Curator Sarah M. McKinnon. Essay by Claudine Majzels. 20 pages, illustrated, soft cover. NFS

This series of eight large-scale drawings and paintings by Winnipeg artist Caroline Dukes examines the identity of a city that develops over time as a result of political and cultural movements, and environmental effects. Architectural structures from Budapest, Munich, and Jerusalem are depicted in this exhibition. Dr. Claudine Majzels, professor of art history at the University of Winnipeg, provides a contextual reading of the works in her essay.

27 x Sonia: Portraits by Walter Gramatté(1897-1929), 1992. Curator Sarah M. McKinnon. 36 pages, illustrated, soft cover. NFS

Watercolour and woodcut portraits of gifted composer Sonia Eckhardt-Gramatté - created by her first husband, German Expressionist artist Walter Gramatté - are the focus of this exhibition publication and accompanying essay by curator Dr. Sarah M. McKinnon.

No Man's Land: The Battlefield Paintings of Mary Riter Hamilton (1919-1922), 1989 & 1992. Organized by Angela E. Davis and Sarah M. McKinnon. 40 pages, illustrated, soft cover. NFS

Catalogue of an exhibition held at Gallery 1C03. Features full-colour illustrations of First World War subject paintings by acclaimed artist Mary Riter Hamilton, with special forewords by John C. Law and Jean-Pierre Wallot.