Good morning with a breakfast for champions!

Bring it on!

Traffic jam heading to the hills.

I love this picture!

The Brazil-Canada team ready to rock!

They went up for a day of adventure on the hills and I stayed on the lower ground for a fun arts experience.
Right beside the gondola station, there is the Whistler Contemporary Gallery.

https://whistlerart.com/

David Robinson

Millstone (2/12)

Cement, bronze

28 x 26 x 6 in (71.12 x 66.04 x 15.24 cm)

Rob Burman

Skier (/500)

Various Media

8 x 9 x 3 in (20.32 x 22.86 x 7.62 cm)

On my way to the Audain Art Museum.

Crows are everywhere, changing the peaceful sounds of the mountains.

FROM https://audainartmuseum.com/:

THE PERMANENT COLLECTION

After years of collecting and living with the rich artistic heritage of the province they love, Audain and his wife Yoshiko Karasawa decided to donate their collection to the public by creating a cultural hub featuring their boutique collection of British Columbia art.

Situated on the shared, unceded territory of the Sḵwx̱wú7mesh (Squamish) Nation and Lil̓wat7úl (Lil’wat) Nation, the Museum’s Permanent Collection celebrates artistic difference in BC from the late 18th century to the present. Anchoring the collection is The Dance Screen (The Scream Too), a finely carved red cedar dance screen by Haida Chief 7idansuu (James Hart).

FROM: https://audainartmuseum.com/

Our design responds to these determinants, simply and directly, by projecting a volume of sequential public spaces and galleries into an existing linear void within the surrounding forest. It is elevated a full storey above the ground and crowned with a steeply-sloped roof, containing administration and back-of-house support functions.

The building design and siting work synergistically within the context of the site to create a public pedestrian link, beginning from the ‘Village Stroll’ (the pedestrian spine of Whistler Village) across Blackcomb Way, leading to and through the Museum and then across the site to Fitzsimmons Creek.

A bridge from Blackcomb Way rises through the forest to arrive at a sky-lit museum entry porch. From there, visitors can either descend to the forest floor and central meadow to continue their passage through the site, or enter into the museum lobby and event space.

Once inside, visitors proceed along a glazed walkway overlooking the meadow below, to gain access first to the galleries which contain the permanent collection and then to the temporary exhibition galleries.

The form and character of the building and interiors is deliberately restrained to provide a quiet, minimal backdrop to the art within and the surrounding natural landscape. The simple form of the exterior is clad in an envelope of dark metal which recedes into the shadows of the surrounding forest. Where this envelope is opened, to provide access in the entry porch or view from the glazed walkway to the galleries, the metal is overlaid by a luminous wood casing.

Public spaces in the interior, which are visible from the exterior, continue this warm luminous materiality. Gallery interiors in both the permanent and temporary exhibition areas are closed white volumes with minimal detail.

John Patkau, Patkau Architects

This is their signature piece: The Dance Screen by James Hart.

I close up of the Dance Screen.

FROM: https://audainartmuseum.com/

ABOUT THE DANCE SCREEN

Unprecedented in contemporary Northwest Coast art, James Hart’s elaborately carved cedar dance screen is unique in both the depth of the carving and the free-standing design. One of Hart’s most important works to date, the carving represents a strong connection to the traditions of the Haida.

The Dance Screen (The Scream Too) depicts many traditional Haida beings and emphasizes the fundamental role of the salmon within Haida society and ecosystems. Many of the figures are shown speaking or calling out, acknowledging concern for the salmon who are threatened by environmental factors.

Both a barrier and a doorway, the work declares the existence of both the spirit realm and the human realm. When danced, the screen allows for a transition between these two realms.

Hart also positions this major Haida artistic achievement within an uncommon postmodern context with reference to the iconic artwork by Edvard Munch, The Scream. This positioning makes a statement about traditional Haida life and culture, both past and present.

The museum has a vast collection of Emily Carr.

War Canoes, Alert Bay, 1912

Street, Alert Bay, 1912. FROM WIKIPEDIA: https://en.wikipedia.org/wiki/Emily_Carr

Emily Carr (December 13, 1871 – March 2, 1945) was a Canadian artist who was inspired by the monumental art and villages of the First Nations and the landscapes of British Columbia. She also was a vivid writer and chronicler of life in her surroundings, praised for her "complete candour" and "strong prose". Klee Wyck, her first book, published in 1941, won the Governor General's Literary Award for non-fiction and this book and others written by her or compiled from her writings later are still much in demand today.

Bertram Charles (B.C.) Binning (1909-1976) Triptych of Nautical Symbols, 1956

Freda Diesing (1925-2002)

Old Woman with Labret, 1973

Beau Dick (1955-2017) Dzunukwa Mask, 2007

Joseph Tisiga (1984 -) A Prop for Reconciliation (Dilton), 2017

One of the exhibitions at the moment is by Canadian artist Gathie Falk, called Revelations.

Crucifixion , 1966

Gathie Falk

18 Pairs of Red Shoes With Roses, 1973

Gathie Falk

FROM WIKIPEDIA: https://en.wikipedia.org/wiki/Gathie_Falk

Gathie Falk was born on January 31, 1928, in Alexander near Brandon, Manitoba, Canada, to immigrant Russian Mennonite parents. Her father, Cornelius, died that same year and her mother, Agatha, went to work to support her and her older brother Gordon, while her eldest brother, Jack, had to move in with another family. In 1930, the Falk family relocated to another small town in southern Manitoba and continued to move around, eventually ending up in Winnipeg when Falk was a teenager. At 16, she left high school to work so she could assist with the family finances and completed her education via correspondence courses. When she was 19, Falk and her mother moved to Vancouver, where she still resides. Her first job in the city was at a luggage factory, where she sewed pockets inside the suitcases. This experience helped her develop her skills in detailed handicraft, which would later become integral to her artistic practice. Falk then became a school teacher in 1953 and taught elementary students until 1965, when she left to commit herself full-time to creating art.

A stop to appreciate the museum's architecture integrating the natural environment.

Another exhibition at the Audian Museum right now is by Canadian artist Karin Bubas, called Garden of Shadows.

FROM :https://audainartmuseum.com/exhibitions/karin-bubas/

KARIN BUBAS: GARDEN OF SHADOWS

Garden of Shadows is an exploration of the artist’s ongoing Studies of Women in Landscapes series, featuring enigmatic photographs of women in remote outdoor settings, alongside her innovative photographic sculptures that layer images to depict West Coast forests and floral arrangements. Both types of work invite viewers to contemplate the hidden aspects of nature and human experience.

This Vancouver-based artist infuses photography with an air of intrigue, while deftly intertwining the ethereal and mundane. Her Studies of Women in Landscapes series draws inspiration from mysterious moments in modernist cinema. These images present solitary women within seemingly idyllic and apocalyptic settings extending from Canada to Iceland. The interplay between nature and culture comes alive through the carefully selected haute couture-inspired clothing worn by her models that echo the landscape’s tone and subtly contrast surrounding flora. The figure-landscape combinations in this exhibition are contrasted by a series of paper toles that are a return to an aesthetic exploration by Bubaš dating back twenty-five years.

Back to the village, the sun was timid, trying to come out.

But it didn't last.

Some street art at the village.

Instead of burning calories skiing, I decided to put on MORE calories at the Purebread Bakery, while waiting for them to get back fro the mountain. Thanks, Gina for the tip!