Western Canada's art magazine since 2002
5 June 2018 Vol 3 No 12 ISSN 2561-3316 © 2018
From the Editor
Portia Priegert
It’s almost three months since Galleries West launched its latest online version. That’s enough time to understand the rewards and challenges of maintaining a site that provides content on a daily basis, a huge change from the gentler pace of a three-times-a-year print magazine. Prior to 2016, when print was mothballed, we had the luxury of time to plan and refine the next issue before a final 10-day production onslaught.
The global changes that have run many publications aground – economic recession, the rise of social media and new digital technologies like smartphones and tablets – forced our hand too. Since Galleries West is extremely lean – as the only full-timer, publisher Tom Tait manages a myriad of administrative and production tasks, as well as advertising sales – we weathered the initial storm.
Eventually, Tom decided to move to a biweekly digital magazine. It published for more than a year, but ultimately didn't develop enough traction to justify continuing as a separate entity. Earlier this year, it was merged into the completely revamped website gallerieswest.ca, fully immersing Galleries West in the non-stop world of online publishing. Where I once felt like I was on a long trek with a massive trunk, I now find myself drawing analogies to dropping smaller parcels onto a luggage carousel.
When I spoke last winter to Julie Scriver at Goose Lane Editions in Fredericton for the annual art books issue, she shared an important insight. Each cultural product, whether a book or an exhibition, imparts information in its own way. The key is to find ways to position that story, following the logic of the structure it inhabits. She was describing how she works with curators to adapt exhibition narratives to book format. But the same holds true of magazines – digital magazines are different entities than print magazines.
For one thing, digital means writers must be more nimble, filing stories quickly so shows are still on view for readers to visit. I must edit swiftly, while trying to make time for occasional longer pieces. Remaining true to a broad mandate to cover shows both large and small across Western Canada is more challenging on a tight deadline. For instance, we are always looking for writers, particularly in smaller communities. And ongoing stories – like the recent controversy over the National Gallery’s decision to sell a work by Marc Chagall – can tax our resources.
Amidst all this, I try to focus on the reading experience. The goal is to make each story not only timely, but interesting and well-crafted, with context and insights into the artistic ideas that inform it. Readership is trending upward, so we must be doing something right. Perhaps, we’re all in the same boat. Like us, readers are feeling more time pressure, and appreciate being able to click in for a quick take on the latest shows, as in this issue, where we cover international figures like Japanese architect Shigeru Ban and American artist Paul Chan, Western Canadian artists like Etienne Zack and Ian Rawlinson, and group shows that consider how photography has shaped our view of the forest and artists who use narrative approaches.
Looking forward, as we head into summer, expect a full report on the latest art auctions from Doug Maclean and a column from consulting editor Jeffrey Spalding about his latest adventures in China. As well, stories are coming on a groundbreaking show of work by the Labrador Inuit and a major show of Métis art at the Art Gallery of Alberta. Of course, we’re writing about plenty of other shows, so do check back regularly.
Until next time,
CONTRIBUTORS THIS ISSUE: Beverly Cramp, Marcus Miller, Mark Mushet
