What compels someone to study art history? It could be a passion for the life and work of a certain artist, like Frida Kahlo, or a fascination with a specific period of visual history, like the Renaissance. But for Josie Greenhill, graduating this month with a BA Honours in Art History & Visual Studies (AHVS), her inspiration came from a movie about Jack and Rose.
Josie Greenhill at UVic’s Library
“I’ve always liked museums, but when it comes to liking history, that was from watching way too many period dramas when I was growing up—specifically Titanic. I was next-level obsessed with James Cameron’s movie, which I used to watch every single day,” laughs Greenhill. “Can this interview just be about Titanic?”
Alas, no, but the legacy of that great ship is a good metaphor for what drives an emerging art historian like Greenhill. “I’ve always liked art, history and culture, and this is an area that mixes them all together,” she says. “I like what objects and material culture can communicate to you; it’s a different approach than just looking at historical texts.”
Born and raised in Nanaimo, Greenhill admits she started out as a “mediocre student” at UVic, but that clearly didn’t last long. Beyond completing an AHVS honours thesis, she’s also taken on leadership roles in student governance, was awarded a JCURA for undergraduate research, had a work-study position, held a co-op placement as a curatorial assistant at Legacy Art Galleries—where she also curated an exhibit about local architects—was hired as an archival assistant in Special Collections, launched her own digital exhibition for UVic’s Electronic Textual Cultures Lab, earned numerous awards and scholarships, presented and published numerous academic papers, and is one of the “faces of art history” in new AHVS recruitment material.
She has also been accepted into the University of Toronto’s highly-competitive art history master’s program, for which she also won a CGS Master’s SSHRC grant—a rare feat for a first-year MA student.
“Josie represents everything UVic stands for,” notes AHVS chair Dr. Erin Campbell. “She is a well-rounded, high-achieving, brilliant, civic-minded, thoughtful and compassionate student who has been shaped by her UVic experience.”
Not that the self-effacing Greenhill would describe herself in such glowing terms. “People think I’m really busy all the time, but I spend a lot of time listening to podcasts and watching Netflix,” she admits. “It’s partially about time management—I wake up early every day—but it’s also about taking risks. Sometimes you just have to take the leap and apply for things you may not have all the qualifications for; it’s surprising how many opportunities will come your way.”
Greenhill in Special Collections
One of Greenhill’s favourite aspects of studying art history has been the sense of discovery that comes through working with archival material. “An object can be your only insight into a time period—if you can hold history or really see it, it has more impact than just reading a document.”
For example, she was thrilled to be able to access a pair of books by Christina and Dante Gabrielle Rossetti through UVic’s Special Collections. “She did the poetry and he did the binding and illustrations,” she explains. “My honours thesis is about Pre-Raphaelite book art—the binding designs, illustrations—which directly ties into why I’m interested in art history. The Pre-Raphaelites were so multi-faceted; they were poets, designers, painters, illustrators . . . there are so many aspects they bring together, and I like studying all those different parts.”
One of her favourite projects was curating a Pride Month exhibit in the lobby display case in UVic Library (seen above)—which she feels doesn’t get the attention it deserves. “People don’t necessarily connect with the lobby case. I often see people just leaning on it with their coffee and I want to say, ‘There’s such cool stuff in here!’”
With her time at UVic coming to an end, how does it feel knowing her face and voice will continue to have a presence on the department’s recruitment material? “It’s kind of intimidating,” she admits. “I’m pretty shy, but I do think it’s cool that I can reach people who I won’t ever meet in person and help motivate them to study art history. I’m grateful that people trust me enough to be a face for the department.”
And is there any wisdom she’d like to share with those future students? “You get out of your degree what you put in to it,” she concludes. “If you get involved, you’ll feel so much better.”
The Faculty of Fine Arts and Ocean Networks Canada at the University of Victoria in British Columbia, are sponsoring an Artist in Residence program. The concept strengthens connections between Art and Science to broaden and cross-fertilize perspectives and critical discourse on today’s major issues such as the environment, technology, oceans, cultural and biodiversity and healthy communities. This program is open to local, national and international applicants.
The Artist in Residence will interact with Fine Arts faculty members and scientists at Ocean Networks Canada as well as with other individuals using the world-leading ocean facilities to ignite cross-disciplinary exchanges. Open to artists working in any visual, written, musical or performance discipline, this residency is suitable for an early- or mid-career artist.
The Artist will learn from and engage with the current research, connecting it to the Artist’s own practice, and to wider societal and cultural aspects, creating a body of work to be presented at the end of the residency. The selected Artist will actively engage with researchers on a variety of ocean science themes, that may include:
The ONC Artist in Residence program is established to:
- explore arts or alternative cultural practices’ potential in the area of the visions, challenges, philosophical, aesthetic, and ethical aspects of the ocean and the impacts humans have on it;
- add a complementary artistic and creative perspective to ocean science, the societal ramifications of its exploitation, and its cultural aspects; and
- help envision the potential long-term impact of ocean changes on humanity.
The residency period can start any time between May and December 2018 and last for up to eight months. A cost-of-living stipend of up to CAD $2000/month will be paid to the selected Artist. Following the residency, a public exhibit of the resulting art will be displayed, performed and promoted by ONC and the Faculty of Fine Arts.
Please note: the application period closes on 27 April 2018.
If interested, please send your application to email@example.com at Ocean Networks Canada with the subject line “Artist in Residence Ocean Program.” The application should include your CV, a concise portfolio of previous relevant artistic work, and a letter of motivation outlining your project proposal for the residency. Applications will be reviewed by representatives of Fine Arts and Ocean Networks Canada, and artists may be contacted for an interview or to supply further information.
About Ocean Networks Canada: Established in 2007 as a major initiative of the University of Victoria, Ocean Networks Canada operates world-leading ocean observatories for the advancement of science and the benefit of Canada. The observatories collect data on physical, chemical, biological, and geological aspects of the ocean over long time periods, supporting research on complex Earth processes in ways not previously possible. The observatories provide unique scientific and technical capabilities that permit researchers to operate instruments remotely and receive data at their home laboratories anywhere on the globe in real time. These facilities extend and complement other research platforms and programs, whether currently operating or planned for future deployment.
About the Faculty of Fine Arts: With experiential learning at its core, Fine Arts provides the finest training and learning environment for artists, professionals, and students. Through our departments of Art History and Visual Studies, Theatre, Visual Arts, Writing and School of Music, we aspire to lead in arts-based research and creative activity and education in local, national, and global contexts. We integrate and advance creation and scholarship in the arts in a dynamic learning environment. As British Columbia’s only Faculty exclusively dedicated to the arts, Fine Arts is an extraordinary setting that supports new discoveries, interdisciplinary and diverse contributions to creativity, and the cultural experiences of the students and communities we serve.
Whether you’re a regular part of the UVic community or simply a visitor to campus, Ideafest 2018 offers an ideal chance to explore the vast and diverse range of research and creative activity happening all around the Ring Road. Fine Arts is offering five distinct events this year, and participating in some others as well.
Rightfully described as being about “ideas that can change everything,” UVic’s week-long festival of research, art and innovation runs March 5-10 and features over 40 events on topics ranging from climate change and chamber music to Indigenous law, optimistic art, antibiotic resistance and so much more.
All events are free and open to the public — please join us at any or all of our signature Fine Arts events, and be sure to take time to explore the full schedule as well. You never know what your new favourite topic might be!
First up on the Fine Arts schedule is the annual reading night featuring Department of Writing MFA candidates. Hosted by award-winning playwright and Writing professor Kevin Kerr, All Lit Up: Creative Writing’s Bright Lights offers live readings and performances by the next generation of Canadian literati, including Levi Binnema (poetry), Sarah Hamill (nonfiction), Daniel Hogg (screenwriting), Elliott James (playwriting) and Kari Teicher (fiction).
Enjoy this lively (and licensed) literary cabaret from 7 to 8:30pm Monday, March 5, at the popular Copper Owl — one of downtown’s most unique and charming arts venues, (upstairs at Paul’s Motor Inn, 1900 Douglas). Doors open at 6:30, and this event always packs out so do arrive early. Note: no minors.
For over 50 years, UVic’s School of Music has had a long history of producing outstanding string students — helped along in no small measure by the Lafayette String Quartet, who have been artists-in-residence here since 1991. Now, you can discover the next generation of outstanding string talent with Cuarteto Chroma — Canada’s first graduate student string quartet. The event String Quartets at UVic: A Musical Continuum offers an interactive performance where Cuarteto Chroma will invite the audience to suggest how they should perform a particular piece — deciding things like tempo, vibrato and the balance between each instrument — which will allow the audience to hear the effects their choices have on the musical outcome.
Afterwards, Chroma will join the Lafayette String Quartet for an informal Q&A session, followed by a Lafayette-taught masterclass for UVic string students — that’s three opportunities to catch a glimpse of the intimate world of chamber music and explore the hidden facets of life in a string quartet. A Musical Continuum runs 11am-2:30pm Tuesday, March 6, in room B037 and the Phillip T. Young Recital Hall, both in the School of Music’s MacLaurin Building B-Wing.
Performers will include the Lafayette String Quartet (Pamela Highbaugh Aloni, Ann Elliott-Goldschmid, Joanna Hood and Sharon Stanis) and Cuarteto Chroma (Felix Alanis, Manuel Cruz, Ilya Gotchev and Carlos Quijano), as well as undergraduate string students. Interactive performance runs 11am–12:15pm in the Phillip T. Young Recital Hall, while the Q&A session runs 12:30–1:20pm in B037, and the chamber music masterclass runs 1:30-2:20pm back in the Phillip T. Young Recital Hall, just next door to the classroom.
If Bobby McFerrin’s classic singalong ditty “Don’t Worry, Be Happy” isn’t quite cutting it for you these days, art may be the answer: in troubling times, optimism can feel like a scarce commodity, but for centuries people have found hope and joy in visual art. Art and Optimism in an Age of Worry offers a lively series of short presentations as Art History & Visual Studies faculty members and graduate students will explore how artists and their works have long offered new messages of hope, healing and empowerment. While showcasing a wide range of styles and movements, they will also collectively demonstrate how art can ignite optimism and agency in your own life.
Join host and AHVS professor Catherine Harding from 5-7pm on Tuesday, March 6, in room 116 of UVic’s Engineering & Computer Science building (ECS), where she’ll be joined by fellow AHVS professors Erin Campbell and Carolyn Butler Palmer, plus grad students Holly Cecil, Gonzalo Gutierrez, Alexa Heenan, Ambreen Hussaini, and Katayoun Youssefi.
If you think Fine Arts is just about paintbrushes, sheet music and words on the page, get ready to enter the digital realm and discover a whole new world of creativity when you go Beyond the Digital Frontier: Exploring Digital and Interactive Media in the Arts. From virtual-reality filmmaking and innovations in digital art to interactive gaming, artifact handling, new theatre technology and into the recording studio with Vancouver rockers Bend Sinister, find out how UVic’s Faculty of Fine Arts is a leader in 21st century creativity at this interactive, drop-in, self-guided exploration event.
Professors Kelly Richardson (Visual Arts), Kirk McNally (Music) and Victoria Wyatt (AHVS), plus technician Simon Farrow (Theatre) and both graduate and undergrad students will showcase recent innovations in the world of digital media from 5-6:30pm on Wednesday, March 7, throughout UVic’s Fine Arts Building.
And you’ve got the entire week of Ideafest to explore the Visual Arts exhibit Math Garden. Conceived of as an outdoor concept exhibition by Visual Arts instructor David Gifford, Math Garden explores some of the visual aspects concerned with popular mathematics. Topics such as amounts, shapes and change will be imagined by the undergraduate drawing class of ART 300, whose motive is to celebrate a handful of patterns that are present in this abstract discipline.
Math Garden is inspired by Mathematica, an exhibition of mathematical concepts by Charles and Ray Eames that debuted at the California Museum of Science and Industry in 1961. The self-guided exhibit in the Fine Arts Building courtyard will also include didactic panels for the purpose of intellectual entertainment, including the explanation of potentially difficult concepts through pictures and interactive sculptures and installations.
While those are our signature events, Fine Arts students will also be participating in the likes of the annual Jamie Cassels Undergraduate Research Awards (JCURA) Fair from 11:30am-3pm on Wednesday, March 7, in UVic’s Student Union Building, as well as the new creative writing contest On the Verge: Student Voices, co-hosted by UVic’s Libraries and Equity & Human Rights, from 4:30-6pm on Thursday, March 8 in Libraries room 129. And will any of our short films about creative practice in Fine Arts make the final cut of the second annual Research Reels contest? To find out, you’ll have to drop by the screening event running from 5-6:30pm Tuesday, March 6, in the David Lam Auditorium, room A144 of the MacLaurin Building.
UVic’s annual Alumni Week is back, and Fine Arts is well-represented in the various events happening across campus and around the city from February 1-7. 2018 marks the 11th annual celebration highlighting the achievements and impact of our alumni, and offers everyone — current students, faculty and alumni alike — the opportunity to show our UVic pride and celebrate UVic grads in communities all over the world.
While there are over 15 events and activities happening over the week, we’re only going to highlight those involving Fine Arts alumni. And be sure to check out the Flashback Foto Contest, where you can submit photos of yourself from your UVic days and enter to win prizes.
AHVS grad student & exhibit curator Nellie Lamb
At 3pm on Saturday, February 3, Art HIstory & Visual Studies alumna and current AHVS graduate student Nellie Lamb will be hosting a special curator’s tour of her current exhibit, Innocence: West Coast Art & Artists Through a Visitor’s Eyes at UVic’s Legacy Art Gallery Downtown. A fascinating look at west coast creativity in the early 1960s, Innocence pairs original works from UVic’s Art Collection with a 1963 NFB documentary.
“Sometimes seeing something we are familiar with through another’s eyes reminds us how incredible that thing is,” she explains. “I hope visitors leave the gallery with a feeling of wonder about the place that we live, and the artists who have worked here for thousands of years and continue to . . . . that’s the feeling in [both the film] and the artworks in this exhibition give me.” You can read more about Lamb’s Innocence exhibit here.
The main event of the week, the gala Distinguished Alumni Awards Night, begins at 7:30pm Monday, February 5, at the Songhees Wellness Centre. All are welcome to attend this free event and see 12 distinguished alumni honoured, and hear what they have to say about how UVic has made — and continues to make — a difference in their lives, and the greater communities around us. Among the recipients are the Faculty of Fine Arts DAA recipients, Carli and Julie Kennedy — School of Music alumni who, under the stage name Twin Kennedy, have been shaking up the world of country & roots music from their new base in Nashville.
“There’s a lot of people in Nashville who can’t do what we can, because they never went to school,” says Carli. “We’re so grateful to have had the time to study and learn before we got out there.” Read more about Carli & Julie in this exclusive interview.
Celebrated Writing alumnus Daniel Sieberg will be In Conversation with UVic Chancellor Shelagh Rogers starting at 7pm on Tuesday, February 6, at First Metropolitan United Church. Not only is Sieberg a graduate of the Writing department but he’s an Emmy-nominated and award-winning TV correspondent/host and the author of The Digital Diet, as well as a former Google executive and the co-founder of Civil.
The big event on Wednesday, February 7, is the special free concert by Twin Kennedy starting at 8pm at Felicita’s Campus Pub. Enjoy a rare intimate and acoustic local performance by these Canadiana stars, who are a little bit country and a little bit classical. With a steadily growing amount of industry recognition — including multiple nominations from the Canadian Country Music Association (three) and the BC Country Music Association (12) — Twin Kennedy have also already won two John Lennon Songwriting awards for their song “Secondhand Gold,” which picked up the Grand Prize (Country) in 2015 and Best Country Song in 2016, as well as a pair of Vancouver Island Music Awards (Country Album of the Year).
Also running all week (and through to March 29, actually) is the exhibit Distinctly Canadian: The Malahat Review’s Relationship with the Visual Arts at the Legacy Maltwood Gallery in the McPherson Library – Mearns Centre for Learning. Curated by AHVS alumna Caroline Riedel, this exhibition pays tribute to the role of art in The Malahat Review — one of Canada’s most iconic and long-standing literary journals.
In its50-year run, its pages have featured the work of established writers, emerging talent and critical essays on both literature and the visual arts. The synergy between art and literature is particularly evident in the cover art and essays of the journal’s first decade, which presented new work by internationally acclaimed artists such as Henry Moore, Barbara Hepworth, Andy Warhol, and Roy Lichtenstein. Featured artists in this exhibit include Maxwell Bates, Robert De Castro, Glenn Howarth, P.K. Irwin, Davidee Kavik, Jack Kidder, Tony Hunt Sr., Elza Mayhew, Eric Metcalfe, Myfanwy Pavelic, Margaret Peterson, Bill Reid, and Gordon A. Smith.
For a complete listing of Alumni Week events please visit our Attend an Event page for more details. If you have any questions please contact Alumni Relations at 250-721-6000 or firstname.lastname@example.org.
In 1963, National Film Board director Léonard Forest travelled from Montreal to the west coast to direct a documentary about artists and poets working in Vancouver and Victoria. Forest said he came here with “zero idea” of what he would find. He made the resulting 27-minute film, In Search of Innocence, with an innocent eye.
AHVS grad student & exhibit curator Nellie Lamb
Now, the latest Legacy Gallery exhibit, Innocence: West Coast Art and Artists Through a Visitor’s Eyes pairs the original NFB documentary with work by artists featured in the film — but guest curator Nellie Lamb also examines the notion of innocence as it pertains to the West Coast in the 1960s.
Lamb, a graduate student with the Art History & Visual Studies department, selected work by the likes of Jack Shadbolt, Margaret Peterson, Roy Kiyooka, bill bissett, Joy Long, Sing Lim, Jack Hardman, and former UVic Visual Arts professors Fred Douglas and Donald Jarvis for the exhibit.
Curious to learn more? Lamb will be giving a special curator’s talk and tour from 3-4:30pm Saturday, February 3.
Lamb says she first saw the NFB film back in 2013, when her mother gave her a copy for Christmas. “My dad, Fred Douglas, appears in it,” she explains. “He passed away when I was 12 so I’ve been getting to know him as an adult through documents like this, and through his friends, co-workers and students.”
Some of Fred Douglas’ original manuscript pages appear in the exhibit
Douglas was a noted Vancouver artist who eventually joined UVic’s Visual Arts department as a professor.
She calls it a “happy accident” that UVic’s impressive art collection holds pieces by some of the artists in the film; the exhibit also features some pieces on loan from UBC, SFU, and the AGGV. “That’s one of the fun things I’ve found about researching local artists, often their work is right here where we can see it up close.”
Lamb says she tried to select works that were created close to the time In Search of Innocence was shot. “Margaret Peterson’s ‘Horos, The Welcome Figure’ (1962) was actually in her solo exhibit at AGGV, which is shown in part in In Search of Innocence,” she explains. “ ’Horos’ also relates to the idea of the West Coast as a place that is — at least in some imaginations — ‘natural’ and ‘mystical.’”
A more innocent time?
Was there actually a sense of innocence among west coast artists of the 1960s? “I think Forest’s use of the term ‘innocence’ is much more nuanced and nebulous than what we typically use the word to mean,” Lamb explains.
“Part of my research is about teasing apart what he might have meant and I think what he meant has many facets, depending on which artist he was looking at. For example, Jack Shadbolt’s search for innocence was different from Al Neil’s. Forest features a diverse group in his film . . . [but] the artists in In Search of Innocence wouldn’t have called themselves innocent.”
Yet Lamb does acknowledge that “the west” has long been seen as a place of opportunity, and that “unrealized opportunity” itself is a type of innocence. Add that to the continued perception that the West Coast is distant from the art-world centers (Europe, New York, Montreal, Toronto), and that West Coast cities like LA and Vancouver are “culturally devoid” compared to their eastern equivalents.
“Of course, anyone involved in the arts communities out here knows that’s untrue,” insists Lamb. “But being removed from these major art centers, and choosing to remain physically and sometimes ideologically marginal, can be seen as an innocent choice or, a search for innocence.”
The researcher as audience & curtor
As an AHVS grad student, Lamb says her Legacy exhibit is just one part of a larger research project focusing on documentary film theory, building a history of Vancouver and the West Coast in the 1960s, and considering her own role as audience and curator.
“Sometimes seeing something we are familiar with through another’s eyes reminds us how incredible that thing is,” she explains. “I hope visitors leave the gallery with a feeling of wonder about the place that we live, and the artists who have worked here for thousands of years and continue to . . . . that’s the feeling in [both the film] and the artworks in this exhibition give me.”
“Innocence” at Legacy Gallery Downtown
Originally from Vancouver, Lamb chose UVic for both her undergraduate degree and her graduate work. “I’m from Vancouver and I had originally planned on moving back there after graduating with my BA . . . . [but] I’ve found that both the AHVS department and Victoria’s art community are overflowing with opportunities for students to put their research and related skills into practice.”
Despite the 55-year gap between the NFB documentary and now, when urban growth and development have radically changed both the physical and cultural landscape, Lamb feels some things do remain recognizable.
“I bounce back and forth between lamenting how much has changed — how much has been lost to development and rising cost of living — and then noticing how much is the same,” she says. “The land is still awe-inspiring, there are still diverse and interconnected communities of artists working in just as diverse media, and some of them are still searching for the same ineffable thing that Forest called innocence.”
Innocence: West Coast Art and Artists Through a Visitor’s Eyes runs to March 29 at UVic’s Legacy Downtown, 630 Yates (open Wed-Sat, 10-4pm).
It’s said nothing succeeds like success, which is an aphorism well-appreciated in the offices of The Malahat Review. Currently celebrating both its 50th anniversary and 200th issue, UVic’s venerable and revered literary journal has served as a springboard for some of the most recognizable names in Canadian publishing over its lifetime.
Writing grad & outgoing Malahat Review editor John Barton (UVic Photo Services)
For instance, the Malahat was the first magazine to publish a short story by Yann Martel — 14 years before he went on to win the Booker Prize for the international bestseller Life of Pi. In 1977, the journal dedicated an entire issue to Margaret Atwood’s work, before she became internationally known. Poets such as Michael Ondaatje, Dionne Brand, Patricia Young and beloved Department of Writing professor Lorna Crozier have frequently graced its pages.
“Publishing in The Malahat is a rite of passage for many writers, who feel that they have ‘arrived,’” says outgoing editor, poet and Writing alumnus John Barton, who has nurtured the journal for more than a decade. “Writers who have won our contests have gone on to win National Magazine Awards, the Journey Prize and to get book contracts.”
Hear Barton discuss the Malahat legacy on this January 9 CFAX Radio interview, or in this January 4 Times Colonist article. He was also interviewed on CBC Radio’s All Points West recently (link not available).
One of the world’s best literary mags, right here at UVic
Established in 1967 by fabled Writing professor Robin Skelton and English professor John Peter, The Malahat Review has showcased works by established writers, discovered promising new talent and presented perceptive critical comment on other pieces including essays on both literature and the visual arts.
“Without The Malahat Review, I wouldn’t be the writer I am now,” admits Martel, whose short story “Mister Ali and the Barrelmaker” was published in 1988. The journal has won more National Magazine Awards than any other literary journal in the country and has had six editors over its lifetime, including Writing professor emeritus Derk Wynand, Constance Rooke, Marlene Cookshaw, Barton, and Skelton and Peter.
“The magazine has been an inspiration to generations of writers and students at UVic, in Victoria and across the country — as a place to read some of the best writing from around the world and as a high-profile publication to dream of seeing your own work in one day,” says Writing chair and alumna David Leach. “As a student at UVic, I remember reading one of Yann Martel’s early stories in the Malahat and being blown away by its originality . . . . To have one of the best literary magazines in the world located right here on campus has helped to establish UVic and Victoria as important centres of Canadian literary culture.”
And while the Malahat may have gotten its start back in the days when Writing was part of UVic’s Faculty of Humanities, it has long ties to us here in Fine Arts. “The Malahat Review has a long history with the Faculty of Fine Arts that spans decades,” says Dean Susan Lewis.
“Colleagues in the Department of Writing play key roles on editorial and advisory boards, and our students have learned about the literary publishing industry through the Department of Writing Internship program, established in 2004. The Malahat’s status as one of Canada’s leading literary journals makes it a desirable place for our faculty to publish. The journal enjoys an impressive list of accolades — including 12 times as either winner or finalist of the Western Magazine Award’s ‘Magazine of the Year’ and 14 Malahat authors in the National Magazine Foundation’s roster of finalists, with five gold and four silver awards.”
It’s already been a busy anniversary for the Malahat, given last November’s 200th issue launch party, which paid tribute to the Victoria literary scene and artists — past, present and future — with two previously unpublished poems from the late P.K. Page and creative nonfiction from painter Emily Carr. The issue also offers work by Writing professors (current and past), including Tim Lilburn, Patrick Lane, Lorna Croizer, Shane Book and Patrick Friesen, plus alumni Kyeren Regehr, Danielle Janess, Leah Callen, Philip Kevin Paul, Arlene Pare, Jason Jobin and Annabel Howard, as well as former Writing instructors like Madeline Sonik and Alisa Gordaneer.
200 issues, one fantastic special edition
To better mark the occasion, UVic Libraries is releasing a limited-edition monograph on January 25, edited by Barton: The Malahat Review at Fifty: Canada’s Iconic Literary Magazine is richly illustrated with archival material from UVic Special Collections and University Archives. Contributing authors include broadcaster and UVic Chancellor Shelagh Rogers, as well as Martel, Paul, Wynand, Young, Eve Joseph, Jay Ruzesky, Nicholas Bradley, Heather Dean, Jonathan Bengtson, Jan Zwicky and rising alumna literary star Eliza Robertson, among others.
“The Malahat Review at Fifty features extraordinary stories and memoirs from a range of celebrated contributors, recognizing the vital culture impact of The Malahat Review on the Canadian and international literary scene,” says UVic librarian and local poet Christine Walde, who, as general editor of the series, led the commemorative project.
There will also be a special art exhibition, Landmarks: The Art of The Malahat Review. Curated by Caroline Riedel of UVic Legacy Art Galleries, Landmarks opens January 25 in UVic’s Legacy Maltwood gallery, located in the lower level of the UVic library. Running until May 13, it highlights the role of art in the journal and includes 200 selected cover images. Canadian artists have dominated the visual identity of The Malahat Review and the synergy between art and literature is particularly evident in the cover art and essays of the journal’s first decade, which featured new work by internationally acclaimed artists such as Henry Moore, Andy Warhol, Mel Ramos and Joan Miró.
Indeed, it would be hard to beat Dean Susan Lewis for a more simple, heartfelt acknowledgement of the magazine’s accomplishments. “My congratulations to The Malahat Review on its 50th anniversary and best wishes for continued excellence in the decades to come.”