Past Exhibitions 2010-2011

In addition to our permanent art and artifact displays, Glenbow maintains an active exhibition program throughout the year. Exhibitions are often drawn from our
collections. We also host travelling exhibitions from museums and art galleries around the world.

Watch Me Move: The Animation Show October 8-December 24

Watch Me Move: The Animation Show is the most extensive exhibition ever mounted that presents the full range of animated imagery produced in the last 150 years – from Snow White and Mickey Mouse to Gollum in The Lord of the Rings.Read More button

August 20 – September 28, 2011

Cut! Costume and the Cinema

Discover the glamour, luxury and artistry of cinematic fashion. Delight in the sumptuous fabrics, the lavish lace, skilled embroidery and unparalleled craftsmanship and creativity. Bask in the ambiance of big-screen cinema and the allure of famous film stars. An experience like no other awaits visitors to CUT! Costume andthe Cinema.Read More button

Sense and Sensibility (1995) image courtesy of photofest, Cut! Costume and the Cinema is presented by Exhibits Development Group in cooperation with Cosprop Ltd., London, England

July 1–September 18, 2011

William Perehudoff, Colour Improvisation, 1967, Collection of the Mendel Art Gallery

PEREHUDOFF The Optimism of Colour: William Perehudoff, a retrospective
The Optimism of Colour
is a major retrospective exhibition with works spanning from 1945 to 2002.

More than 60 artworks will be on display, drawn from rarely seen public and private Canadian collections
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Above: William Perehudoff, Colour Improvisation, 1967, Collection of the Mendel Art Gallery.

July 1 – September 18, 2011

Ted Godwin, Red Grew, 1961, Collection of Glenbow MuseumFrom Our Collections: Fields of Colour

This selection from Glenbow's collection includes works by William Perehudoff, his Saskatchewan contemporaries, The Regina Five and a third generation of artists who were inspired and influenced by these earlier artists.
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Ted Godwin, Red Grew, 1961, Collection of Glenbow Museum

April 2 – June 15, 2011

Yousuf Karsh, Winston Churchill © Estate of Yousuf KarshKarsh: Regarding Heroes

This exhibition celebrates the centenary of the birth of one of the greatest photography portraitists.

The 100 prints on display here are being shown together for the first time ever. Read More button

Yousuf Karsh, Winston Churchill © Estate of Yousuf Karsh.

Organized by The Art Institute of Chicago and curated by David Travis, Former Chair and Curator of Photography at The Art Institute of Chicago, and toured by Curatorial Assistance Traveling Exhibitions, Pasadena, California.
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Organized by the National Gallery of Canada
April 2 — June 19, 2011

Douglas Gordon and Philippe Parreno, Zidane, A 21st Century Portrait (detail), 2006,Douglas Gordon and Philippe Parreno, Zidane, A 21st Century Portrait (detail), 2006, National Gallery of Canada, Ottawa © Anna Lena films/Palomar Pictures





No soccer fan will want to miss this contemporary portrait of soccer superstar Zinédine Zidane that gives the viewer access to the athlete and the game like never before.

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Douglas Gordon and Philippe Parreno
Zidane, A 21st Century Portrait (details), 2006, National Gallery of Canada, Ottawa ©Anna Lena films/Palomar Pictures
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April 2 — June 19, 2011

Floria Sigismondi, Self-Portrait with Cat, 2001, Collection of Glenbow Museum

From Our Collection: Portraits

As part of our ongoing From Our Collections series, Glenbow is pleased to present Portraits, a selection of contemporary art from Glenbow’s collections that challenges the traditional definition of portraiture.

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Floria Sigismondi, Self-Portrait with Cat, 2001, Collection of Glenbow Museum
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77 Million Paintings by Brian Eno

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January 6 — March 20, 2011

Brian Eno, 77 Million Paintings, 2009 © Lumen (London) LimitedBrian Eno may be best known as a musician and composer — from his groundbreaking experimental music recordings of the last three decades to his production work for bands such as U2, Cold Play and the Talking Heads. But he also inhabits the art world's cutting edge, creating immersive installations that mix sight and sound.

Conceived by Brian Eno as "visual music," 77 Million Paintings is a constantly evolving sound and imagescape which continues his exploration into light as an artist's medium and the aesthetic possibilities of "generative software." Both the music and the visuals in 77 Million Paintings are "generative" — a technique where the artist establishes specific parameters for the artwork to exist within, then lets a computer arrange the pieces. The work's ambient music track, written by Eno, is assembled like the paintings — layers of sound interwoven to create a complete piece that rarely repeats itself.

Brian Eno, 77 Million Paintings, 2009 © Lumen (London) Limited
In association with One Yellow Rabbit's High Performance Rodeo

Supported by: FFWD Weekly


Perceptions of Promise: Biotechnology, Society and Art

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January 6 – March 20, 2011

Derek Besant, Still from Metamorphosis Theory, 2010In April 2010, a group of international artists, scholars and scientists met in Banff, Alberta and began to explore questions surrounding biotechnology. The result is this compelling exhibition of paintings, sculptures, drawings, videos and photographs that respond to scientific advancements and the questions they raise in our society.

Art has an important role to play in the discourse around biotechnology as it can offer unique articulations of the complex, polarized and often emotionally charged responses the public has towards technology. From artworks that utilize MRI technology to create haunting sculptural forms, to immersive installations inspired by stem cell research to provocative photographs that inspire debate on genetically altered foods, Perceptions of Promise will challenge your views of technology and science.

Participating artists from around the world include: Derek Besant, Sean Caulfield, Royden Mills, Liz Ingram, Bernd Hildebrandt, Shona MacDonald, Marilene Oliver, Daniela Schlüter, Isabelle Van Grimde and Clint Wilson. Participating scholars include: Paul Cassar, Timothy Caulfield, Jim Evans, Gail Geller, Curtis Gillespie, David Grant, Jane Kaye, Trudo Lemmens, Eric Meslin, Matthew Nisbet and Peter Rugg-Gunn.


Derek Besant, Still from Metamorphosis Theory, 2010.

This project is developed in partnership with the Department of Art and Design, University of Alberta, and the Health Law Institute, University of Alberta and the Canadian Stem Cell Network.

Panel Discussion
POP/Science: When Pop Culture Intersects With Biotechnology

Thursday, March 3, 2011


Join veteran CBC broadcaster Barbara Budd as she moderates an interdisciplinary panel exploring how different areas of biotechnology, are portrayed in popular culture.

Panel Discussion details Jpg icon [323 K]


From comes this video piece from a story by Jef Akst.
Watch the video below and read the full story "Controversy on display"

Stephen Hutchings: Landscapes for the End of Time

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Organized by Glenbow Museum
December 11, 2010 — March 13, 2011

Stephen Hutchings, Path, 2009, Collection of the ArtistIn Landscapes for the End of Time, Canadian artist Stephen Hutchings examines ideas of temporality, permanence and eternity. The evocative landscapes resist defining any particular time or place; he has captured through realism something unreal. Hutchings builds his artistic practice out of a century of art historic tools and ideas; each landscape represents its entire past and its entire future frozen into one moment. The landscapes are developed from digital photographic images, sketched on the computer and then layered on the canvas with charcoal and paint. Hutchings has become a digital Impressionist — he embraces new technology to create his work but media/technology is only one of many tools, and the final product, like his images, melds the past and the future into a hybrid whole.

— Colleen Sharpe, Guest Curator

Stephen Hutchings, Path, 2009, Collection of the Artist
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From our Collections : the Photography of Holly King, Dyan Marie & Diana Thorneycroft

January 6-March 20, 2011

Artists Holly King and Diana Thorneycroft produce carefully crafted photo-based landscapes that utilize both physical and intellectual components. Using images to construct a miniature world filled with unique characters and a sense of drama, these distinct micro-theatres are loaded with a variety of historical references. Whether it's reimagining a Group of Seven painting as a cheeky lampoon of Canadian culture, or a subtle reworking of a traditional romantic landscape into a bizarre dreamlike vista, both artists use a hands-on approach that re-invigorates contemporary photography with a playful sense of craft.

Toronto artist Dyan Marie's series Un-still Lives with Traffic is a photographic declaration of the vitality found in the everyday activities of her neighbourhood. Through digital manipulation, Marie emphasizes the colours and foliage in what would otherwise be bland urban settings. With these overt manipulations, her images become near abstractions, celebrating colour as much as community.
Through our ongoing From Our Collections series, visitors have an opportunity to explore work from our collections in greater depth and to appreciate the range and quality of our art collection. We're pleased to show the work of these three exceptional photographers in conjunction with the annual Exposure Calgary/Banff/Canmore Photo Festival in February of 2011.

Dyan Marie, Un-still Lives with Traffic: Girl on a Blue Bike, 2007, Collection of Glenbow Museum
Dyan Marie, Un-still Lives with Traffic: Girl on a Blue Bike, 2007, Collection of Glenbow Museum

James Henderson: Wiciteowapi Wicas
(The Man Who Paints the Old Men)

October 16, 2010 to January 9, 2011
Organized by the Mendel Art Gallery
Curated by Dan Ring and Dr. Neal McLeod

James Henderson, Portrait of Weasel Calf (Blackfoot Chief. Last surviving chief who signed the Treaty of Peace in 1877), 1924, University of Saskatchewan Art CollectionJames Henderson (1871-1951) was born in Glasgow, Scotland, where he apprenticed as a lithographer and studied at the Glasgow School of Art. He immigrated to Winnipeg in 1909 and moved to Regina one year later to become a commercial artist. Henderson became enthralled by the Qu'Appelle Valley (45 miles east of Regina) and the First Nations people who lived there. By 1915 he was living in the Valley and had established himself as a painter of portraits and the landscape that surrounded him. He was the first Saskatchewan artist to make a living from his work.

This exhibition melds art historical research with interviews from the family of the people whom Henderson painted. As a student, Henderson was greatly influenced by the Scottish Impressionist School. Dan Ring, curator at the Mendel Gallery in Saskatoon, considers the impact of this early training and places the landscape and commercial works within the context of Western Canadian social and art history.

Neal McLeod of the James Smith Band of the Cree First Nation and professor at Trent University has interviewed the surviving family members and acquaintances of the subjects of Henderson's portraits of First Nations peoples. This oral history places the people and their portraits within a historical context.
The melding of these two approaches brings a fresh understanding of Western Canadian art in the early twentieth century. The early period of colonization of the land and Indigenous people was over. Both had survived; but both had been greatly changed. Henderson's work reminds us of these changes and of the perseverance of the landscape and the First Peoples.

James Henderson, Portrait of Weasel Calf (Blackfoot Chief. Last surviving chief who signed the Treaty of Peace in 1877), 1924, University of Saskatchewan Art Collection

The People and Places of Treaty 7

Bill Mclean, Nakoda Stoney

Native Cultures gallery, 3rd floor

This collection of photographs of Treaty 7 people and places was taken by Harry Palmer. Palmer is a respected Calgary-area photographer who has spent much of the past decade working with the people of the Treaty 7 nations, learning about their culture and their deep connection with the land.

The Baroque World of Fernando Botero
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August 21 — November 14, 2010

The First Lady by Fernando Botero, 1989, Private Collection The Baroque World of Fernando Botero is an in-depth look at the internationally renowned Colombian artist Fernando Botero (b. 1932). Painter, sculptor and draftsman, Botero depicts the comedy of human life, creating a world of his own which is both accessible and enigmatic with a particular blend of violence, humour and beauty. Botero's unique style is instantly recognizable around the world, and his imagery memorable.

This exhibition is the first major retrospective exhibition of Botero's work in North America since 1978 and Calgary's first exhibition of his work.

Fernando Botero, The First Lady, 1989 Private Collection.

All of the works in the exhibition are drawn from the artist's personal collection which was assembled over the past 50 years. These include some of Botero's favourite pieces or artworks he reacquired, years after they left his possession. This spectacular exhibition features over 100 colourful paintings and sculptures, including three monumental sculptures and several exquisite drawings, some of which are exhibited in public for the first time.

Crucifix by Fernando Botero, 2000, Private CollectionAll phases of Botero's illustrious career are represented in the exhibition, organized
into seven sections highlighting his most important themes.
Viewers are introduced to images of power and everyday life in Colombia.
Later, we see his characteristically inflated figures in parodies of famous paintings of European masters such as Veláquez, Ingres, Delacroix and Piero della Francesca. Also on display are some of Botero's still lifes and a selection of early works, in which he began to play with the volume of his subjects, exaggerating their excesses and transforming everything he painted into objects of opulence.

Fernando Botero, Crucifix, 2000, Private Collection.

Botero's work reflects Latin American life in all its complexity, including the affect of political violence on society. But he also celebrates the more joyous aspects of daily life in Colombia in beautiful, colourful canvases, drawing on his memories to create poignant and unforgettable works.

The Baroque World of Fernando Botero is accompanied by a fully illustrated
full-colour exhibition catalogue published by Art Services International. The exhibition is curated by Dr. John Sillevis who also wrote the publication's lead essay.

Botero presently lives and works in Paris, New York, Monte Carlo and Pietrasanta, Italy.

Smoking Woman by Fernando Botero, 1987, Bronze, Private Collection
Fernando Botero, Smoking Woman, 1987, Bronze, Private Collection.

This exhibition is organized and circulated by Art Services International, Alexandria, Virginia.

Education Programming Supported by:

GranTierra energy inc.

Also Supported by:

Petrominerales A Petrobank Company

"Supported by the Department of Canadian Heritage through the Canada Travelling Exhibitions Indemnification Program / Avec l'appui du ministère du Patrimoine canadien par le biais du Programme d'indemnisation pour les expositions intinérantes au Canada"
Supported by the Department of Canadian Heritage through the Canada Travelling Exhibitions Indemnification Program / Avec l'appui du ministère du Patrimoine canadien par le biais du Programme d'indemnisation pour les expositions intinérantes au Canada

The Broken World of John Will
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Organized by Glenbow Museum
August 21 — November 14, 2010

John Will, Lana and the Js, 1986, Collection of Glenbow MuseumThe irreverent and irrepressible John Will is highly regarded as an important and influential Canadian artist. He works in a tradition of artists who are satirical, subversive and sometimes slanderous in their critique of society from Hogarth and Daumier to Ensor and William Wiley. He brings formidable wit to the subjects of sex, war, racism, religion, mortality, sport, anxiety, rock and roll, the economy, celebrity culture, the art world, bizarre events, alien landings and personal hygiene. He mixes them up in topical concoctions that can be acerbic, even rude, and labyrinthine in their narrative and conceptual complexity.

John Will, Lana and the Js, 1986, Collection of Glenbow Museum

The Broken World of John Will, featuring mostly lithographs, was selected from Glenbow's extensive collection of Will's art to highlight the way he cuts up snippets of a fractured world from the front line of experience and knits them together.
Between 1962 and 1980, he produced over 100 prints, each a labour-intensive work packing a barrage of ideas and demonstrating his technical prowess as a printmaker.
He shifted his focus to video, photography, performance and painting when he decided that his first comprehensive exhibition of prints would be the time to quit making prints. More recently, Will has tried to quit his entire art making practice through Artists Anonymous, a collaborative enterprise with fellow artist, Jeff Funnell.
Luckily for us, the rehab program to treat art addiction has had limited success.

Educated in painting and printmaking in Iowa, he was a Fulbright scholar at the Rijaskademie in Amsterdam and a Ford Foundation Printer Fellow at the Tamarind Institute. Now a Professor Emeritus, he taught at the University of Calgary for 27 years and continues to influence students, artists and the Calgary art community.

— Katherine Ylitalo, Guest Curator

You can view more of John Will's work on Impress - an online
resource devoted to Glenbow's printmaking collection.
Fifty seven of Will's prints are featured and detailed
information on his career and printmaking practice is found in
the Artist Profiles section.
Click Here website

Artistic Folk
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June 19 – September 26, 2010

Artistic FolkThis exhibition features 35 amazing handmade objects from Glenbow's cultural history
collections that illustrate the refreshing creativity of Western Canada's first European
settlers. From richly painted storage trunks to a skillfully crafted tower clock and a delightful pelican whirligig, the exhibition showcases the individuality, artistry and cultural roots of Western Canadians. Some of the objects were brought to Canada from the settlers' homelands and some were made here, but all of the artifacts express the unexpected talents of the individuals who made them. Most of the objects in the exhibition were made with practicality in mind and fashioned from locally available materials, but the furniture, furnishings, musical instruments and children's toys are as eyecatching and lively as the whirligigs and carvings included in the exhibition.

This exhibition is curated by Glenbow Senior Curator of Cultural History Lorain Lounsberry.

Ukrainian Cradle, 1907, Collection of Glenbow Museum

The Painter as Printmaker: Impressionist Prints from the National Gallery of Canada

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Organized by the National Gallery of Canada
May 15–August 2, 2010

Paul Cézanne, The Large Bathers, c. 1896-1898, National Gallery of Canada, Ottawa. Photo © NGCCézanne, Degas, Renoir, Van Gogh.
These Impressionist and Post-Impressionist artists, with their iconic paintings and pastels, are household names.
But what is less known is that many of these artists were also printmakers who made significant contributions to the history of printmaking.

The Painter as Printmaker showcases the extraordinary beauty of Impressionist prints, with 65 artworks from the National Gallery of Canada's collection, including works on paper by such famous nineteenth century artists as Mary Cassatt,
Paul Cézanne, Jean-Baptiste-Camille Corot, Edgar Degas, Édouard Manet,
Jean François Millet, Camille Pissarro, Pierre-Auguste Renoir and Vincent van Gogh.

Exploring the depth, versatility and experimental nature of prints created by the most famous artists of the modernist era, The Painter as Printmaker reveals how Impressionist artists were as revolutionary in their printmaking as they were in
their painting.

Printmakers were included in the first Impressionist exhibitions in 1874. Among the artists exhibiting prints in the Impressionist exhibitions were Pissarro, Cassatt and
Degas. Other members of the group, including Cézanne and Renoir, also practiced
printmaking. Renoir first encountered the medium as an illustrator for
La vie moderne in the late 1870s and executed prints inspired by his paintings in
the 1890s.

In many ways, printmaking is the most democratic of media as prints can be more
affordable than paintings. Through prints, the imagery and ideas of the Impressionists and Post-Impressionists were introduced into the vernacular of popular culture in the late nineteenth century.

Among these significant prints, museum visitors will recognize Millet's peasants, Manet's Spanish subjects and his famous Execution of Maximilian as well as the ballerinas, bathers and café scenes of Edgar Degas, Vincent van Gogh's portraits
of Doctor Gachet, Paul Cézanne's bathers and Mary Cassatt's beautiful portrayals of mothers and women in their daily lives. Other highlights in this exhibition is a series of prints based on the theme of the mother and child by the American artist Mary Cassatt. Also included are two seminal works by Paul Cézanne, The Small Bathers and an important study for The Large Bathers.

Paul Cézanne, The Large Bathers, c. 1896-1898, National Gallery of Canada, Ottawa. Photo © NGC

Riopelle: The Glory of Abstraction
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Organized by Glenbow Museum
May 15–August 2, 2010

Jean-Paul Riopelle, Sans Titre (untitled), 1950, Private Collection © Estate of Jean Paul Riopelle/SODRAC (2010)Riopelle: The Glory of Abstraction showcases
the work of renowned artist Jean-Paul Riopelle (1923-2002) and represents the most important phases of his career.
This Quebeçois master was an artist of dazzling complexity who produced some of the most beautiful abstract paintings of the twentieth century.

Riopelle is considered to be one of Canada's greatest artists, one of the first with a truly international reputation, with work represented in major collections all over the world.

In the 1940s, Riopelle was part of a group, the Automatistes, that became known for their unpremeditated and spontaneous approach to painting. This method was related to Surrealism and drew upon the subconscious as a source of direct inspiration. In 1948, Riopelle produced a watercolour for the cover of the explosive manifesto Refus Global, written by his former teacher Paul-Émile Borduas and signed by a number of Borduas' students, including Riopelle. Riopelle went on to enjoy a successful career in France where he had been living since 1947. During the late 1940s and early 1950s, he became friends with some of the most influential people in the Parisian cultural scene including artists, gallery owners and writers. In the early 1970s, he built a home and studio in the Laurentians in Quebec. From 1974, he divided his time between Quebec and France, returning permanently to Canada in 1990. He died on March 12, 2002 and was accorded a state funeral.

Riopelle's dynamic and original style of painting was widely appreciated and sought
after, bringing him incredible commercial and critical success. Riopelle was the first
Canadian artist whose work sold for over a million at Sotheby's. Underlying his work was his love of painting and especially of paint itself — abundantly and extravagantly laid on, transforming flat surfaces into sensuous reliefs. In these exciting paintings, reason and passion seem to collide.

Don't miss your chance to view seldom-seen Riopelle artworks, most from private collections. Over 90 percent of the exhibition is drawn from Calgary collectors! Riopelle: The Glory of Abstraction features an impressive grouping of Riopelle's art drawn from local private collections, including some that have never before been exhibited to the public. In addition, there are works on paper from the Glenbow collection and several monumental abstractions borrowed from public collections such as the National Gallery of Canada, Montreal Museum of Fine Arts, Musée national des beaux-arts du Québec, Winnipeg Art Gallery and from corporations such as Power Corporation and Imperial Oil.

This Glenbow-produced exhibition is curated by Glenbow's Senior Art Curator, Monique Westra.
Glenbow gratefully acknowledges the Masters Gallery for their ongoing support of this exhibition.

Jean-Paul Riopelle, Sans Titre (untitled), 1950, Private Collection © Estate of Jean Paul Riopelle/SODRAC (2010)


From Our Collections: Stella Mere by Catherine Ross
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May 15–August 2, 2010


Stella Mere by Catherine RossThis spectacular and monumental installation by Lethbridge-based artist Catherine Ross, is made up of hundreds of starfish, each individually cast in aluminum and mounted on thin threaded steel rods.

Seven hundred and fifty shimmering starfish float on a wavy, tightly-knit surface that looks like a gently shifting island.

The interlocking repetitive pattern of starfish seems like a glittering, overarching fabric or skin. While the undulating surface is evocative of the coulees in the Oldman River valley that the artist sees from her home, it is also reminiscent of drifts of snow, clouds, waves and the seabed. At once landscape, seascape and skyscape, it is simultaneously a dreamscape magically transformed by glinting reflections of light. Because of its huge scale and irregular configuration, the viewer is compelled to walk around the work, drawn into its mysterious and contemplative sphere. The effect of Stella Mere is theatrical, mesmerizing and unforgettable.

Stella Mere took three years to complete and the help of over 20 people. In 2008, the artist donated Stella Mere to the Glenbow Museum.

Watch this time-lapse video of the installation of Stella Mere, a monumental sculpture by Alberta artist Catherine Ross.

Catherine Ross, Stella Mere, 1996-99, cast aluminum and steel rods; Collection of Glenbow Museum

Kaahsinnooniksi Ao'toksisawooyawa
Our ancestors have come to visit: Reconnections with historic Blackfoot shirts
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March 26 to May 16, 2010

Blackfoot Shirt with Porcupine Quill Decoration and Painted Images of War Deeds, no date, Collection of Pitt Rivers Museum, University of OxfordWhen Kainai elders Andy Black Water and Frank Weasel Head visited the Pitt Rivers Museum at Oxford University in 2002, they were shown a collection of Blackfoot material that had been collected more than a century and a half before. Among the collection were five hide shirts decorated with porcupine quills, paint and human hair. It is believed that these Blackfoot shirts were acquired in the 1840s by employees of the Hudson's Bay Company during their travels and encounters with the First Nations people.

These shirts embody ancient stories and histories of the Blackfoot people, and are
considered important curriculum as they teach the Blackfoot people about their place
and roles within the world. They are critical tools in creating a bridge to link past events and stories with contemporary lives to create community memory for the Blackfoot people.

Glenbow Museum and the Pitt Rivers Museum are pleased to present these five
historically significant shirts to the Blackfoot people and to Albertans. Prior to the public exhibition, the shirts will be the focus of workshops in which the people from the Siksika, Kainai and Piikani communities will gather to examine the shirts, research how to preserve the shirts physically and spiritually, and discuss how the Blackfoot people can further access the shirts once they return to Oxford, England.

Join us to explore Blackfoot artistic traditions and learn about the importance of these shirts to the oral tradition of First Nations people. This exhibition is a collaboration between the Pitt Rivers Museum in Oxford, England; The University of Aberdeen, Scotland; the Galt Museum in Lethbridge and Glenbow Museum.

Production Support from: The Rozsa Foundation and the Alberta Museums Association.

Blackfoot Shirt with Porcupine Quill Decoration and Painted Images of War Deeds, no date, Collection of Pitt Rivers Museum, University of Oxford

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