Public lecture Wednesday, November 6th at 5:30pm.
The Department of Art History, Visual Art and Theory at the University of British Columbia is pleased to announce Beau Dick as the AHVA Artist in Residence, from September to December 2013. During his residency at UBC, Dick will be working out of a studio in the Department’s new Audain Art Centre, in addition to speaking with graduate students and visiting classes.
Currently, Beau Dick’s work can be seen in the exhibitions, Witnesses: Art and Canada’s Indian Residential School at the Morris and Helen Belkin Art Gallery on campus (until December 1, 2013) and The Voyage, or Three Years at Sea Part VI at the Charles H. Scott Gallery at Emily Carr University of Art and Design (until November 24, 2013).
Dick will present an artist talk at the Belkin Art Gallery on Thursday, October 10 from 12:30 to 2 pm and will give a public lecture about his artistic practice on Wednesday, November 6th at 5:30pm in Lasserre 102.
Beau Dick, acclaimed as one of the Northwest Coast’s most versatile and talented carvers, was born on Village Island, Kingcome Inlet, BC and lives and works in Alert Bay, BC. Reaching out beyond the confines of his own Kwakwaka’wakw culture, Dick has explored new formats and techniques in his work, including painting and drawing. His work can be found in private collections as well as museums, including the Canadian Museum of Civilization (Gatineau, QC), the Heard Museum (Phoenix, AZ), the Burke Museum (Seattle, WA), the UBC Museum of Anthropology and the Vancouver Art Gallery. Dick’s work has been exhibited most recently in Sakahan: International Indigenous Art (2013) at the National Gallery of Canada, 75 Years of Collecting: First Nations: Myths and Realities (2006) at the Vancouver Art Gallery and Supernatural with Neil Campbell (2004) at the Contemporary Art Gallery (Vancouver). In 2012, Dick received the Jack and Doris Shadbolt Foundation’s VIVA Award for Visual Arts.
The Department of Art History, Visual Art and Theory’s Artist in Residence program is generously supported by funding from the University of British Columbia’s First Nations Studies Department and the Faculty of Arts Dean’s Office.
