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Jo-Anne McArthur and We Animals
Jo-Anne McArthur & We Animals
Jo-Anne McArthur is an award-winning Canadian photojournalist and the founder of We Animals. For fifteen years, she has travelled the world, documenting our complex relationships with animals. We Animals images have been used by hundreds of organizations, publishers, and academics to advocate for animals. McArthur is a sought-after speaker and is the author of two books, We Animals (2014), and Captive (2017). She was the subject of an award-winning documentary, The Ghosts in Our Machine, released worldwide in 2013. In 2017, McArthur and the We Animals team launched the We Animals Archive, a resource where thousands of images are made available for free to anyone helping animals.
Please Don’t Turn Away
“Powerfully disturbing. These images take us to dark and hidden places visited by only a few determined and courageous individuals like Jo-Anne McArthur. They reveal the secret practices that many people will not want to know about. For the animals’ sake, I beg that you will not only look but feel.” – Dr. Jane Goodall
Images of animals as they exist in the human world show the depths of human cruelty, but also the boundlessness of our compassion. Looking at – and truly seeing – the pain of animals trapped in cages on factory farms, held in chains behind a circus tent, reaching out from between the bars of a zoo’s exhibit; seeing these realities is the first step towards acknowledging humanity’s complicity with the suffering experienced by these individuals. To simply show suffering is not enough, however; the storyteller who seeks to make change for animals must create images that challenge the viewer to look, but compelling enough that the viewer does not turn away. The dark reality of our treatment of animals is contrasted by the tireless work of those working to liberate them, and by the lives of the rescued, rehabilitated, and respected animals. Through both stories of suffering and stories of hope, McArthur’s images are crafted to inform and to inspire. Thank you for your courage. Thank you for not turning away.
2nd Yr Painting (VISA 225) with Katherine Pickering
Advanced Painting VISA 312 with Patrick Lundeen
Focal Points an Exhibition of Work by Photography Students from UBCO – At Rotary Arts Centre and Alternator Gallery
From black and white photographs hand printed in the traditional darkroom, to digital images montaged and manipulated in Adobe Photoshop, this exhibition highlights the wide diversity of content and form in the work being done by photography students at the University of British Columbia Okanagan. This collection of photo based artwork has been created by students in second, third and fourth year and is being shown in both the Alex Fong Galleria, March 2 – March 30, and the Alternator Centre for Contemporary Art’s Member’s Gallery, from March 3 – March 17, 2018.
Print Show!
Meg Yamamoto – Objects in Suspension
Nina Vincenza Fazio – Golden Mourning
Gary Pearson: Short Fictions
Gary Pearson, painter, drawer, video artist, freelance writer and curator, recently opened a solo exhibition at the Kelowna Art Gallery.
The exhibition, titled Gary Pearson: Short Fictions features a selection of the artists work drawn from the past fifteen years. Short Fictions is accompanied by a substantial publication, illustrated, and with critical essays on the artists work.
Pearson is a recently retired associate professor in the Department of Creative Studies at UBC Okanagan, and lives in Kelowna. He has had numerous exhibitions internationally, and was recently elected as a member of the Royal Canadian Academy of Arts.
little mother
little mother (2018)
Patricia Leinemann
Artist Statement
In late 2016 at the UBC Museum of Anthropology, Patricia Leinemann viewed a textile display that was inspirational. She wondered how to create a layered installation of textiles that a viewer could wander through. After returning from Vancouver, she came across her collection of doll dresses. Along with her sisters’ collections, these mostly handmade dresses carry fond memories and made her question why we hold on to particular childhood objects. Patricia had to make assumptions to her questions because her mother died eleven years ago. Trough conversations with extended family, their mother’s desire for her girls to have a doll was because she never owned one. There was limited money when Patricia was young so she finds it fascinating that money was available for these dresses. She wondered if her mother was training her and her sisters to become mothers because being a mother was her greatest joy. Patricia questioned if buying had dressing her dolls influenced here future interest in dress-up, costumes, and good quality clothing in her professional life. She never had children of her own but maybe Patricia experienced being a mother while playing with her dolls. This supports her query if perhaps she always lived her life out of order.
