Glaciers are once again making their presence felt in Calgary. Yet instead of flowing freely down the Bow River valley these frozen formations await exploration within over 200 years’ worth of artwork currently gracing the walls at Glenbow.
Vanishing Ice: Alpine and Polar Landscapes in Art 1775 – 2012 the exhibition now entertaining and educating visitors in Glenbow’s temporary exhibition space has already made its ponderous way through several other North American stops where it has carved its way into the hearts and minds of visitors and altered the cultural landscape. Melanie Kjorlien vice-president of access collections and exhibitions at Glenbow is hoping it will have the same effect here in Calgary.
“We thought that it was a really good exhibition to have here because it’s a really great combination of art and history and science” says Kjorlien. “And I think that is relevant in terms of bigger discussions that are happening not just in our community but around the world.”
Hung impressively so as to fit the complete exhibition into the space Vanishing Ice features more than 70 works of art hand-picked by curator Barbara Matilsky of Bellingham Washington’s Whatcom Museum and sourced from galleries private collections and directly from artists around the world. Yet despite their varying origins the works in Vanishing Ice combine to give visual clues to both the fear and the fascination that have driven humanity to set out into the frozen unknown repeatedly throughout the past two and a half decades.
With its roots dating back 30 years to Matilsky’s research into the French artist-naturalist-explorers who were among the first to bring back paintings of alpine and polar landscapes the exhibition truly got its start when climate change entered full force into our collective consciousness. Matilsky noticed the increasing number of contemporary artists journeying to the Arctic Antarctica and alpine glaciers — just as the subjects of her research had done. With their eagerness to discover areas untouched by civilization while at the same time attempting to educate their audiences on the value of these regions and ecosystems the similarities between the pioneers and the artists of today were fascinating.
“While examining these parallels a cultural perspective crystallized that I believed could spotlight climate change in a new way” says Matilsky. “Many people are already aware of the critical importance of ice for the planet. With this exhibition I wanted to introduce the rich artistic legacy of ice and how glaciers icebergs and other fantastic formations inspired artists writers scientists explorers who in turn helped shape western consciousness about the natural world.”
With a wide realm of inspired artists to choose from Matilsky did not limit her selections. While a number of traditional and experimental documentaries can be studied in-depth through the use of headphones a single video-based work projects its chill-inducing creaking and groaning into the room contributing an appropriate soundtrack. Hiding among the expected landscapes rendered by hand and on film other gems are revealed: explorer manuscripts manually and digitally manipulated work etchings musical installations posters and a single stereographic 3D print from the early 20th century. While a number of these pieces are originals due to the nature of a travelling exhibition a great many more are recent prints and reproductions.
The one thing most obviously missing however is sculpture. While Vanishing Ice has featured purpose built ice-carvings at its previous stops this was not a logistical possibility at Glenbow. Instead the museum has augmented its turn showcasing the polar exhibition with a video-work by Alberta artist Peter von Tiesenhausen. “Island” a new creation that originated from his recent residency in Iceland that is presented adjacent to the main exhibition is an illuminating narrative of journey and exploration.
Along with von Tiesenhausen’s work the complementary exhibition Searching for the Northwest Passage has been curated in-house with artifacts and artwork taken from Glenbow’s internal collections. The timing of these two exhibitions could not be more appropriate coinciding with the long-awaited discovery of the lost 1845 Franklin Expedition — Searching for the Northwest Passage contains a number of artifacts from previous unsuccessful attempts to find the expedition. “These items speak to the broader idea of the North and also the change that has happened with the Northwest Passage in particular” says Kjorlien. “Where previously a route through was impossible in the last 20 to 30 years it has become navigable because of melting ice and changes in the climate in that region.”
The Northwest Passage exhibition also fits the educational theme that dominates Vanishing Ice. Throughout the gallery informational panels break down the science behind ice formations and movements causes and consequences of climate change are explored and the history of exploration and the art that accompanied it is laid out. Yet this is only the beginning. Behind the initial emotional reaction brought about through the visual beauty of the formations and awe of the expansive polar and alpine vistas each artist is attempting to expand the understanding of the audience. Whether it is the ironic attack on modern consumption as seen in Chris Jordan’s digital reimagining of a pristine Ansel Adams landscape the fantastical illustrations Gustave Doré contributed to Samuel Taylor Coleridge’s The Rime of the Ancient Mariner or the subtle commentary in the photography of Anna Noble each artwork is used to address issues of the time.
“In the past artists and naturalists expanded the public’s awareness of Earth’s icy landscapes” explains Matilsky. “Today artists continue to collaborate with scientists motivated by the belief that art will help people to visualize the accelerating effects of climate change. They awaken the world to both the beauty and increasing vulnerability of ice which is critical for biological and cultural diversity.”
These lessons are made more potent through careful curation. Subtle displays draw the viewer in before delivering their message. And as the exhibition does not follow a strict timeline modern and historical works are displayed together each with their own story to tell denying visitors the ability to focus only on the beauty while escaping the realities of our changing environment. Images of the same glacier created a century apart are hung together for example revealing the extent of its retreat.
The frozen splendour of alpine and polar landscapes has fascinated humanity for centuries yet the attraction is deeper than just visual beauty. Until recently ice represented an almost unknowable alien environment yet through the efforts of artists explorers and scientists that perception changed.
At Glenbow Vanishing Ice captures this relationship. With carefully selected artwork spanning three centuries the viewer can take their time immerse themselves in the sights and sounds and see the evolution of consciousness as these landscapes move from something unknowable and dangerous something to be conquered into a valuable fragile ecosystem to be cherished and conserved.
Vanishing Ice and Searching for the Northwest Passage are on exhibition at Glenbow until January 4.
