此口述影像語音導覽描述了《孫遜 : 通向大地的又一道閃電》(Sun Xun：Mythological Time) 專展裡《神話與反骨》(Mythological or Rebellious Bone)作品。 導覽旨在讓視障朋友能更貼近並感受精彩展品。同時，讓來參觀展覽的民眾聆聽並加深體驗，也歡迎您在舒適的家中和世界的任何一角，一同進入孫遜這充滿幻想奇幻世界！

此次導覽由Stephanie Bokenfohr和Lynn Chen為溫哥華美術館製作，由Derek Brunen編輯音頻。

持續邁進文化平權！您的反饋意見對我們很重要！
導覽後，歡迎與我們聯繫並分享您的體驗及建議

可以通過電子郵件 sbokenfohr@vanartgallery.bc.ca 或致電 604 662 4700 
聯繫公眾教育項目策劃 Stephanie Bokenfohr

可以通過電子郵件 lchen@vanartgallery.bc.ca 或致電 604 662 4700 
聯繫溫哥華美術館亞洲藝術館與教育項目策劃 Lynn Chen

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此口述影像语音导览描述了《孙逊 : 通向大地的又一道闪电》” (Sun Xun：Mythological Time) 专展里《神话与反骨》(Mythological or Rebellious Bone)作品。 
导览旨在让视障朋友能更贴近并感受精彩展品。同时，让来参观展览的民众聆听并加深体验，也欢迎您在舒适的家中和世界的任何一角，一同进入孙逊这充满幻想奇幻世界！

此次导览由Stephanie Bokenfohr和Lynn Chen为温哥华美术馆製作，由Derek Brunen编辑音频。

持续迈进文化平权！您的反馈意见对我们很重要！
导览後，欢迎与我们联繫并分享您的体验及建议！

可以通过电子邮件 sbokenfohr@vanartgallery.bc.ca 或致电 604 662 4700 
联繫公众教育项目策划 Stephanie Bokenfohr

可以通过电子邮件 lchen@vanartgallery.bc.ca 或致电 604 662 4700 
联繫温哥华美术馆亚洲艺术馆与教育项目策划 Lynn Chen

Sun Xun, Mythology or Rebellious Bone (Mandarin)

This audio described tour invites you to discover Chinese artist Sun Xun's new, 31-metre ink painting "Mythology or Rebellious Bone" (2020) as part of the exhibition "Sun Xun: Mythological Time" at the Vancouver Art Gallery. Available in English and Mandarin, this tour can be enjoyed as an accompaniment to anyone's visit to the Gallery or as an audio experience from the comfort of your home. 

This described tour was designed to be accessible to those who are blind, partially sighted or live with vision loss and was produced for the Vancouver Art Gallery by Stephanie Bokenfohr and Lynn Chen, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/sun-xun-mythological-time.
 
Your feedback is important to us! Once you have completed this tour, please feel free to reach out and share any comments or questions you may have.

Adult Public Programs Coordinator Stephanie Bokenfohr can be reached by email at sbokenfohr@vanartgallery.bc.ca or by phone at 604.662.4700.

Institute of Asian Art and Education Programmer Lynn Chen can be reached by email at lchen@vanartgallery.bc.ca or by phone at 604.662.4700.

Sun Xun, Mythology or Rebellious Bone (English)

Curator Sarah Biscarra-Dilley speaks to the series of 36 works, hung in a grid, entitled, A Guiding Hand by Christopher Ando, who is Alutiiq from Uyaqsaq (Larsen Bay, on Kodiak Island, Alaska).

Biscarra-Dilley begins her introduction in tɨnɨsmuʔ tiłhinktityu the language of the people of tiłhini, the area known today as San Luis Obispo, in California, before continuing in English.

Transits and Returns, Artist Christopher Ando

In this exhibition T'uy't'tanat Cease Wyss has provided the raw materials used in her weaving for you to touch. 

To learn more about Indigenous plants to BC and their creative and medicinal uses visit: indigenousplantdiva.wordpress.com

Transits and Returns, Weaving Materials

Press play to hear artist Marianne Nicolson speak about her work, Oh, How I Long for Home, (2016) during the recent gathering hosted by the Vancouver Art Gallery, SFU Galleries and the Aboriginal Curatorial Collective entitled Great Ocean Dialogues which can be viewed in full on the Vancouver Art Gallery Vimeo channel.  This work can be seen in Transits and Returns (09.28.19-02.23.20) at the Vancouver Art Gallery.

Photo: Marianne Nicolson, Oh, How I Long for Home, (2016)(detail), Louis Lim

Transits and Returns, Marianne Nicolson

Press play to hear co-curator Lana Lopesi speak first in Sāmoan and then in English, about the photographs by Sāmoan artist Edith Amituanai, that document the lives and homes of Sāmoan transnational communities including in Vancouver, BC.

Photo: Dante, Shiloh and the Hummer, 2019, Courtesy of the Artist

Transits and Returns, Edith Amituanai

In this playlist you will find all the audio stops for this exhibition on at the Vancouver Art Gallery from December 7, 2019 to June 28, 2020. Drawn primarily from the Vancouver Art Gallery’s collection, Rapture, Rhythm and the Tree of Life: Emily Carr and Her Female Contemporaries focuses on artwork from the first half of the twentieth century by women artists based in British Columbia, and presents an expanded account of the context in which modernism developed on the Canadian West Coast during the early to mid-1900s.

We have done our best to pronounce all names accurately, however if we have missed the mark please let us know aconery@vanartgallery.bc.ca

Born in Victoria, BC, Emily Carr (1871–1945) is widely recognized for her paintings of forested British Columbian landscapes that investigate the shapes, colours and rhythmic changes in nature. In this exhibition, Carr’s images of the forest and the coast will be presented alongside work by some of her lesser-known female contemporaries—including Unity Bainbridge, Beatrice Lennie, Nan Lawson Cheney, Irene Hoffar Reid, Grace Wilson Melvin and Vera Weatherbie—together with baskets, cedar hats and cradle boards made at this time by Indigenous women—such as Amy Cooper, Mary Little and Gertrude Dick.

Organized by the Vancouver Art Gallery and curated by Grant Arnold, Audain Curator of British Columbia Art

Grace Wilson Melvin, Illustraitions From The Indian Speaks, C. 1943

Irene Hoffar Reid, Salmon Fisherman, 1932

Irene Hoffar Reid, Indian Village, North Vancouver, 1932

Amy Cooper (Sto:lo, Ts’elxwéyeqw First Peoples, Th’ewá:li First Nation) (b. n.d., Th’ewá:li; d. 1975)
Totewelem si:tel (Knitting Basket), before 1934
cedar root, grass, cherry bark, dye
Image Courtesy of the Museum of Anthropology, The University of British Columbia, Vancouver, Canada

We have done our best to pronounce all names accurately, however if we have missed the mark please let us know aconery@vanartgallery.bc.ca

In this playlist you will find all the audio stops for this exhibition on at the Vancouver Art Gallery from December 7, 2019 to June 28, 2020. Drawn primarily from the Vancouver Art Gallery’s collection, Rapture, Rhythm and the Tree of Life: Emily Carr and Her Female Contemporaries focuses on artwork from the first half of the twentieth century by women artists based in British Columbia, and presents an expanded account of the context in which modernism developed on the Canadian West Coast during the early to mid-1900s.

Born in Victoria, BC, Emily Carr (1871–1945) is widely recognized for her paintings of forested British Columbian landscapes that investigate the shapes, colours and rhythmic changes in nature. In this exhibition, Carr’s images of the forest and the coast will be presented alongside work by some of her lesser-known female contemporaries—including Unity Bainbridge, Beatrice Lennie, Nan Lawson Cheney, Irene Hoffar Reid, Grace Wilson Melvin and Vera Weatherbie—together with baskets, cedar hats and cradle boards made at this time by Indigenous women—such as Amy Cooper, Mary Little and Gertrude Dick.

Organized by the Vancouver Art Gallery and curated by Grant Arnold, Audain Curator of British Columbia Art

Amy Cooper, Totewelem Sitel (Knitting Basket), Before 1934

In this playlist you will find all the audio stops for this exhibition on at the Vancouver Art Gallery from December 7, 2019 to June 28, 2020. Drawn primarily from the Vancouver Art Gallery’s collection, Rapture, Rhythm and the Tree of Life: Emily Carr and Her Female Contemporaries focuses on artwork from the first half of the twentieth century by women artists based in British Columbia, and presents an expanded account of the context in which modernism developed on the Canadian West Coast during the early to mid-1900s.

Born in Victoria, BC, Emily Carr (1871–1945) is widely recognized for her paintings of forested British Columbian landscapes that investigate the shapes, colours and rhythmic changes in nature. In this exhibition, Carr’s images of the forest and the coast will be presented alongside work by some of her lesser-known female contemporaries—including Unity Bainbridge, Beatrice Lennie, Nan Lawson Cheney, Irene Hoffar Reid, Grace Wilson Melvin and Vera Weatherbie—together with baskets, cedar hats and cradle boards made at this time by Indigenous women—such as Amy Cooper, Mary Little and Gertrude Dick.

Organized by the Vancouver Art Gallery and curated by Grant Arnold, Audain Curator of British Columbia Art

Emily Carr, Victoria Sight Across The Water, C.1937

Emily Carr, Untitled, 1938 - 39

Emily Carr, Stumps And Sky, C.1934

Emily Carr, Pemberton Meadows, 1933

Emily Carr, Forest, British Columbia, 1931 - 32

Emily Carr, Cedar Sanctuary, 1942

"Shuvinai Ashoona: Mapping Worlds" (06.15.20-08.30.20) at the Vancouver Art Gallery, explores the work of contemporary Inuit artist Shuvinai Ashoona who works in Kinngait studios, Kinngait (Cape Dorset), Baffin Island, Nunavut. In this audio you will hear a brief history of the artists in Shuvinai's family who were among the first to work at the Kinngait Studios, West Baffin Eskimo Co-Operative.

Image credit: Shuvinai Ashoona, "Summer Sealift", 2003, Photo: Courtesy of Dorset Fine Arts

Art and the Ashoona Family, Kinngait (Cape Dorset), Baffin Island, Nunavut

"Shuvinai Ashoona: Mapping Worlds" (06.15.20-08.30.20) at the Vancouver Art, explores the work of contemporary Inuit artist Shuvinai Ashoona who works in Kinngait studios, Kinngait (Cape Dorset), Baffin Island, Nunavut. In this audio you will hear a brief history of making in the area, the styles and motifs that have been associated with the Inuit and the artists in Shuvinai's family who were among the first to work at Kinngait Studios, West Baffin Eskimo Co-Operative.

Image credit: Ottokie, Kinngait, 1975, Photo: Tessa Macintosh

History Of Making, Kinngait (Cape Dorset), Baffin Island, Nunavut

"Shuvinai Ashoona: Mapping Worlds" (06.15.20-08.30.20)at the Vancouver Art Gallery, explores the work of contemporary Inuit artist Shuvinai Ashoona who works in Kinngait studios, Kinngait (Cape Dorset), Baffin Island, Nunavut. In this audio you will hear a brief history of the artists and practices involved in the Kinngait Studios, West Baffin Eskimo Co-Operative.

Image credit: Lukta Ningutsiak and colleague at the etching press, Kinngait Studios, 1975, Photo: Tessa Macintosh

Printing Methods, Kinngait Studios, West Baffin Eskimo Co-Operative

In works that fuse personal memory with larger histories, artists in the exhibition "lineages and land bases" (06.15.20-08.30.20) search for ways of thinking about our entanglements with systems of exchange, knowledge, belief and culture related to the land.

Often emanating melancholy and absence, these artists’ works share a rhizomatic framework for engaging and understanding the relational interface between ourselves and the natural world. In this audio we invited artist Guud San Glans Robert Davidson, whose works appear in this exhibition, to discuss personal, emotional, affective and consciousness-based explorations of land.

Guud San Glans Robert Davidson: lineages and land bases

In this audio Tarah Hogue, Senior Curatorial Fellow of Indigenous Art at the Vancouver Art, describes one room within her exhibition "lineages and land bases" (06.15.20-08.30.20). This room which sits at the center of both the exhibition and its themes, exhibits the creative work of Emily Carr and Sewiṉchelwet Sophie Frank,  who were friends for 33-years.

In 1906, Sewiṉchelwet (Sophie Frank) (1872–1939), a woman from the Sḵwx̱wú7mesh Úxwumixw (Squamish Nation), knocked on the door of Emily Carr’s (1871–1945) Vancouver home, offering her baskets for barter or sale as a modest livelihood within the city’s burgeoning settler economy. Both Carr and Frank were born and raised in this region, they both had creative practices tied to its lands and waters and they were close contemporaries, yet their realities and their interactions with each other were profoundly shaped by the inequalities produced by colonialism, which Hogue explores in this audio.

Historical Contexts of Emily Carr and Sewiṉchelwet Sophie Frank, by Curator Tarah Hogue

In this audio Chief Bill Williams, the great grand-nephew of Sewiṉchelwet Sophie Frank, speaks to the lineages and contexts of his great aunts life and weaving practice.  At the Gallery this audio is presented alongside her baskets, works by other Sḵwx̱wú7mesh weavers and paintings by Emily Carr, with whom she was friends for 33 years. This room forms the center of  the exhibition "lineages and land bases" (06.15.20-08.30.20)curated by Tarah Hogue.

Image: Emily Carr, Sophie Frank, 1914, watercolour on paper, Private Collection EL2018.1.1, Photo: Vancouver Art Gallery

Chief Bill Williams: lineages and land bases

This audio helps define what was the Bauhaus and its influence on some of the over 300 works in Modern in the Making: Post-War Craft and Design in British Columbia (07.18.20-01.03.21)at the Vancouver Art Gallery.

The exhibition examines the furniture, ceramics, textiles, fashion and jewellery that defined West Coast modern living in the mid-twentieth century. In the three decades following the Second World War, thousands of people immigrated to British Columbia seeking the benefits of its resource-based economy, mild climate, natural amenities and inventive spirit. This optimistic post-war environment fostered the development of exceptional design and craft practices, deeply influenced by the tenets of modernism: simplicity, fine craftsmanship and functional design for everyday use. The most comprehensive view of mid-century craft and design from this region assembled to date, the exhibition reveals how local histories, immigration patterns and materials impacted interpretations of modernism in British Columbia, while also recognizing this cultural movement’s inherent ties to colonial expansion.

Image: building on the Dessau campus of the Staatliches Bauhaus, school of design, architecture, and applied arts (1919–33, designed by architect Walter Gropius in 1925, when the school moved from Weimar, to Desau Germany  
Photo: Claudio Divizia/Shutterstock.com

Bauhaus

Welcome to the audio described tour of the exhibition "Uncommon Language"!

"Uncommon Language" was developed in conversation with the exhibition "Victor Vasarely" and responds to his Plastic Alphabet, an abstract language that Vasarely intended for use by the entire world. 

In response to Vasarely’s project of a single overarching artistic language, Zoë Chan, Assistant Curator at the Vancouver Art Gallery, brings together artworks that evoke, embrace, complicate and counter the idea of a common language. "Uncommon Language" invites the public to critically consider the notion of a universal artistic expression and language. The exhibition asks such questions as: “What does it mean to be universal?” and “Is such universality even desirable?”

This audio described tour is presented in eight parts and encourages listeners to reflect on what aesthetic languages are being used by the artists in the exhibition, what new ones are being proposed, and what your perspective brings to the process of appreciating art from a non-visual approach.

Designed to be accessible to those who are blind or live with vision loss, this tour can also be listened to as an accompaniment to any person’s visit to the Gallery. We hope the experience of listening offers ways to make meaning from art for all. Thank you for listening!

Your feedback is important to us. Once you have completed this tour, please feel free to get in touch with any comments you may have. Adult Public Programs Coordinator Stephanie Bokenfohr can be reached by email at sbokenfohr@vanartgallery.bc.ca or by phone at 604 662 4700.

This described tour was produced for the Vancouver Art Gallery by Stephanie Bokenfohr, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/uncommon-language.

Exhibition Introduction and Welcome

"Uncommon Language" brings together 30 artists and is made up of works from the Vancouver Art Gallery’s collection. The exhibition is organized in three thematic parts: Manifest Abstractions, Body Politics and Inner Worlds, Outer Reaches.

Works in the section titled Manifest Abstractions are monochromatic and are linked by the predominant use of the colour black. These works can all be considered abstract works of art or as exhibiting characteristics of abstraction. Abstraction within European and North American contexts is often associated with a focus on the formal (colour, shape, and materials) rather than on figuration or the direct representation of the world. However, as the wall text in this section of the exhibition points out: “abstraction is not a monolithic movement;” there are numerous and diverse applications and understandings of abstraction. Some works focus on formal concerns while others refer to aspects of the real world or raise social, cultural and political questions.

In this audio clip, Stephanie Bokenfohr, Adult Programs Coordinator, begins to describe three works in this section, starting with Josef Albers, White Line Square IV (1966). 

This described tour was produced for the Vancouver Art Gallery by Stephanie Bokenfohr, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/uncommon-language.

Josef Albers, White Line Square IV

In this audio clip, Stephanie Bokenfohr, Adult Programs Coordinator, describes Vija Celmin’s Comet (1991), on view in the section titled Manifest Abstractions of the exhibition Uncommon Language.

Comet is a relief print on paper and depicts a starry sky. Vija Celmins is best known for her hyper-realistic renditions of natural scenes that appear limitless—ocean waves, deserts, clouds and, in this work, the night sky. By drawing or painting these environments from a photographic image, her process allows for a transition from the real world to photograph, then to print, and now framed here in the exhibition Uncommon Language.

This described tour was produced for the Vancouver Art Gallery by Stephanie Bokenfohr, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/uncommon-language.

Image: Vija Celmins, Comet, 1991, relief print on paper, Collection of the Vancouver Art Gallery, Gift of Andy Sylvester, Photo: Ian Lefebvre, Vancouver Art Gallery

Vija Celmins, Comet

This work is part of Andrew Dadson’s series of lean paintings, in which he explores the monochrome—or, in this case, the colour black—and how it hides or contains colours underneath the surface. So, though the painting appears to be black when approached from front on, by exploring its edges, you notice that there are many layers of paint colours underneath.

Walking toward either the left or right side of the painting, you encounter the excess of dried paint resting atop, accumulated, one imagines, through the process of its making. Dadson’s multidisciplinary practice employs photography, drawing, sculpture and painting, and you really appreciate that in this work as, although it is a painting, it can also be thought of as a sculptural work that asks the public to question their perception of the art object and their relationship with it.

This described tour was produced for the Vancouver Art Gallery by Stephanie Bokenfohr, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/uncommon-language.

Image: Andrew Dadson, Untitled (black lean painting), 2008, oil on canvas, Collection of the Vancouver Art Gallery, Purchased with the support of the Canada Council for the Arts Acquisition Assistance program and funds provided by the Acquisitions Committee: David Aisenstat, Claudia Beck, Laing Brown, Sherry Killam, Karen Killy, Della McLaughlin and Lesley Stowe, Photo: Ian Lefebvre, Vancouver Art Gallery

Andrew Dadson, Untitled (black lean painting)

Jenny Holzer is an artist known for her text-based works that question the mechanics of communication and challenge the traditional confines of art, where it should be presented and for what audience. This sculptural work is part of her "Survival Series" and is called "When There’s No Safe Place To Sleep." It invites the viewer to sit on a bench. Upon sitting on the bench, you feel the coldness of the marble and become acquainted with the text engraved onto its face. You can feel the engraved letters, which are in all caps in a serif font. The top of the bench is reminiscent of a plaque or even a tombstone, bringing to mind ideas of mortality. The heaviness and darkness of the marble make the bench look like a monument to be revered. Holzer's sculpture similarly invites viewers to enjoy a quiet moment of reflection.

This described tour was produced for the Vancouver Art Gallery by Stephanie Bokenfohr, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/uncommon-language.

Jenny Holzer, The Survival Series: When There's No Safe Place to Sleep

When you turn your body to the wall opposite the rotunda after sitting on Jenny Holzer's bench, you encounter Betty Goodwin's large-scale, mixed-media work Carbon. Goodwin is an artist known for her depictions of the body, its vulnerability and its experience of pain and trauma throughout existence.

This described tour was produced for the Vancouver Art Gallery by Stephanie Bokenfohr, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/uncommon-language.

Image: Betty Goodwin, Carbon, 1987, oil stick, charcoal, pastel, wax, wash on geofilm, Collection of the Vancouver Art Gallery, Acquisition Fund, Photo: Ian Lefebvre, Vancouver Art Gallery

Betty Goodwin, Carbon

The next section of the exhibition is Inner World, Outer Reaches. It includes artists whose works may seem abstract but are the results of artistic processes that seek to find new aesthetic languages through working with nature, poetry, spirituality, intuition and imagination. In this audio clip, Stephanie Bokenfohr, Adult Programs Coordinator, described the installation The Tao of Rice Paper II by artist Zhu Jinshi.

This described tour was produced for the Vancouver Art Gallery by Stephanie Bokenfohr, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/uncommon-language.

Image: Jinshi Zhu, The Tao of Rice Paper II, 1997, Japanese paper, bamboo, Collection of the Vancouver Art Gallery, Gift of the Artist, Photo: Ian Lefebvre, Vancouver Art Gallery

Zhu Jinshi, The Tao of Rice Paper II

Françoise Sullivan’s Danse dans la neige is a series of 17 photographs that documents a performance she presented in the winter in 1948. Eight of the photographs in this series are on display in the exhibition Uncommon Language. Sullivan's performance was documented by photographer Maurice Perron and filmed by well-known Quebecois Abstract-Expressionist painter Jean-Paul Riopelle. Unfortunately, the film was lost, so these photographs are the only documents we have of this singular performance. 

"Danse dans la neige" translates in English language as “dance in the snow,” and it was a performance that engaged with nature and its seasonal cycles. Sullivan studied modern dance in New York under Martha Graham, who taught a form of dance that is celebrated for its explosive release techniques based on the breath.

In this audio clip, Stephanie Bokenfohr, Adult Programs Coordinator, describes the eight black-and-white photographs that are on view in the alcove room of the exhibition.

This described tour was produced for the Vancouver Art Gallery by Stephanie Bokenfohr, with sound design by Derek Brunen.

Find out more about the exhibition at https://www.vanartgallery.bc.ca/exhibitions/uncommon-language.

Image: Françoise Sullivan, Danse dans la neige, 1947 (printed 1977), portfolio documenting a dance performance with reproductions of 17 photographs by Maurice Perron and a serigraph by Jean-Paul Riopelle, Collection of the Vancouver Art Gallery, Gift of Max Wyman, Photo: Ian Lefebvre, Vancouver Art Gallery

Françoise Sullivan, Danse dans la neige

Founded in 1931, the Vancouver Art Gallery is recognized as one of North America’s most respected and innovative visual arts institutions. The Gallery’s innovative ground-breaking exhibitions, extensive public programs and emphasis on advancing scholarship all focus on the historical and contemporary art of British Columbia and international centres, with special attention to the accomplishments of First Nations artists and the art of the Asia Pacific region­—through the Institute of Asian Art founded in 2014. The Gallery’s programs also explore the impacts of images in the larger sphere of visual culture, design and architecture.

The Vancouver Art Gallery is a not-for-profit organization supported by its members, individual donors, corporate funders, foundations, the City of Vancouver, the Province of British Columbia through the British Columbia Arts Council, and the Canada Council for the Arts. We thank everyone for their continuing support.

The Vancouver Art Gallery is situated on the traditional, ancestral and unceded territories of the xʷməθkʷəy̓əm (Musqueam), the Sḵwx̱wú7mesh (Squamish) and səl̓ilwətaɁɬ (Tsleil-Waututh) peoples, and is respectful of the Indigenous stewards of the land it occupies, whose rich cultures are fundamental to artistic life in Vancouver and to the work of the Gallery.

Vancouver Art Gallery

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