As the MAG is in a City-owned facility, we are adhering to City of Red Deer policy and taking part in the provincial Restrictions Exemption Program. Visitors aged 12 and older will need to provide proof of vaccination, proof of vaccination exemption, or proof of a negative test result. Check out this blog post for information about visitation and program restrictions.
4525-47a Avenue, Red Deer, AB T4N 6Z6
Tracing Tides: A Topographical Investigation, is another landscape, bridging two sides of the world: The Murramarang National Park on the eastern coast of New South Wales, Australia and the Gros Morne National Park in Newfoundland. The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man detritus. These had their own peculiar poignancy in Newfoundland with the assortment of lobster bands, wooden crab traps, shotgun cartridges and discarded plastic. All reminders of a decimated fishing industry. - Lyndal Osborne
Saturday, May 23
Part 1: Lyndal Osborne Inspired Sculpture (MAGSaturdays)
Saturday, March 30
Part 2: Lyndal Osborne Inspired Sculpture (MAGSaturdays)
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Lyndal Osborne was born in Newcastle, Australia. She studied at the National Art School in Sydney and received her MFA from the University of Wisconsin, Madison, USA. Since 1971, Osborne has been based in Edmonton, and is Professor Emeritus in Department of Art and Design, University of Alberta. Osborne has been exhibiting in Canada and internationally since the early 1970s and has shown in over 360 exhibitions. She is represented in many private and public collections worldwide.
Osborne’s sculptures and installations have developed an individual approach that utilizes found and recycled material that she alters through the application of color, manipulating their original shape, and/or by placing the objects in new contexts so they develop new metaphorical meaning. Her installation work speaks of the forces of transformation within nature, as well as commenting upon pressing issues relating to the environment. In her work Osborne has focused on an examination of the issues of genetically modified organisms and more recently on the crisis in the global oceans.
Her work is represented in numerous Canadian collections, including the National Gallery of Canada and the Art Gallery of Alberta. Recent exhibitions include Nickle Galleries, Calgary 2018; Art Gallery of Grande Prairie, AB 2017; Vernon Public Art Gallery, BC and The Reach, Abbotsford, BC, 2016; Art Gallery of Burlington, ON 2015; JNAA Gallery, Sarnia ON; Art Gallery of Alberta, Edmonton, 2014; Dalhousie Art Gallery, Halifax NS; The Rooms, St John’s NL, 2012; RMIT Gallery, Melbourne (Australia), Museum London ON, University of Lethbridge Art Gallery AB, Red Deer Museum+ Art Gallery AB, 2011; Dunlop Gallery, Regina MT, 2010; Penticton Art Gallery BC, 2009; Robert McLaughlin Gallery, Oshawa, and Canadian Clay and Glass Museum, Kitchener ON, 2008.