WHAT HAPPENED TO THE CUTTING EDGE: "Timeland – 2010 Alberta Biennial of Contemporary Art," Art Gallery of Alberta, Edmonton

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"White Fence at Night"

David M.C. Miller, "White Fence at Night," 2010, inkjet print.

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"Wilderment"

Rita McKeough, "Wilderment," 2010, mixed media installation.

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"White Fence at Night"

David M.C. Miller, "White Fence at Night," 2010, inkjet print.

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WHAT HAPPENED TO THE CUTTING EDGE: Timeland – 2010 Alberta Biennial of Contemporary Art

Art Gallery of Alberta, Edmonton

By Ross Bradley

Over its 14 year history, the Alberta Biennial of Contemporary Art has provided a snapshot of the leading edge of the visual arts scene across the province. The community and the audience have looked forward to seeing and experiencing what is thought to be the “state of the arts.” We have also been introduced to many younger artists who have since taken their places as key figures on the contemporary art scene. These exhibitions were curated in-house, often in partnership with other provincial institutions and with an understanding of the local activity.

TIMELAND, the latest edition is curated by Richard Rhodes, editor of Canadian Art magazine and someone with a distinguished track record as a writer, curator, teacher and photographer. In his introduction to the exhibition he explains:

“I was conscious of creating a cross-generational biennial, not just a biennial focused on artists under 40 as is the usual guide for most biennials. A cross-generational mix of artists is appropriate to the theme. It is also appropriate as a reflection of the Canadian art scene, where established artists and younger artists often share a level playing field in terms of public, commercial and artist-run gallery program mandates.”

So, with this in mind, does the show work as a snapshot of the current Alberta art scene? We certainly get a mix of established and emerging talent, with artists such as Calgary’s John Will and his expansive “Anything and Everything” created between 1989 and 1991 contrasted with Jason de Haan’s 2010 multimedia sculpture “Salt Beard” and Edmonton’s David Cantine with his 2001 painting“From SW Still-life Warm” compared to Paul Bernhardt’s 2008 work “Knockdown.” We also get a glimpse of Alberta’s other powerhouse of creative energy - Lethbridge with Mary-Anne McTrowe and Daniel Wong (AKA The Cedar Tavern Singers – AKA Les Phonorealistes) whose musical dissertations on the Alberta art scene, and topic such as the age old rivalry between Calgarians John Will and Chris Cran, prove considerably more entertaining than the writings of Clement Greenberg, the subject of another of their clever lyrics.

Perhaps the most puzzling inclusion is lens-based media artist Danny Singer who, though born in Edmonton, has been based in Vancouver for more than thirty years. His video work “Rockyford” is indeed classic small town Alberta and the only truly Alberta landscape piece in the exhibition despite the artist not seeming to fit the criteria of “Alberta artist.”

The most exciting discoveries also span the generations. Rita McKeough’s new work “Wilderment” builds on her well deserved reputation as a leading Canadian installation artist. If McKeough captures the current rural dilemma of agriculture versus industry with her wheat fields and cranes, David M.C. Miller’s “White Fences at Night” speaks eloquently of the regional urban landscape with its panorama of white picket fences marking their territories, like ghosts in the dark prairie night. It was also good to see the inclusion of a young artist working in a traditional craft media. Edmonton’s Robert Geyer explores the subtle play of light through glass rods in his 2009 sculpture,“Alberta Colour Study #3.”

Does the reconceived idea of biennial really work? Perhaps - if more of the work by the senior artists was current, added to their already substantial bodies of work, or if the new media successfully melded the possibilities of today’s technology with the artists’ vision. But at the end of the day, I fondly look back on the original concept of biennial where new faces were given a voice on the main stage and the audience was given the opportunity to explore the potential and challenges of the next generation.