CV
SARAH STEVENSON
| Education |
|---|
| Bachelor of Fine Arts, University of Victoria, British Columbia, 1984 |
| Solo Exhibitions | |
|---|---|
| 2024 | In the Eye, Blouin Division, Toronto, Ontaro |
| 2023 | A Minor Catastrophe, Trépanier Baer Gallery, Calgary, Alberta/td> |
| 2022 | Une petite catastrophe, Maison de la culture Notre-Dame-de-Grace, Montréal, Québec |
| 2021 | Before the Storm, Fonderie Darling, Montréal, Québec (curated by Caroline Andrieux) |
| 2020 | Still Falling, Trépanier Baer Gallery, Calgary, Alberta |
| 2019 | Galerie René Blouin, Montréal, Québec |
| 2018 | Nothing Hidden, The Esker Foundation, Calgary, Alberta |
| 2017 | Fragile, Galerie McClure, Montréal |
| 2007 | Galerie René Blouin, Montréal, Québec |
| Leo Kamen Gallery, Toronto, Ontario | |
| 2006 | Leo Kamen Gallery, Toronto, Ontario |
| 2004 | Galerie René Blouin, Montréal, Québec |
| 2002 | Galerie René Blouin, Montréal, Québec |
| Hundreds and Thousands/Des centaine et des milliers, Bishop’s University Art Gallery, Lennoxville, Québec | |
| 2000 | Three Shapes/Trois formes, independent project, sponsored by the Saidye Bronfman Centre, Montréal |
| 1999 | Almost Invisible, Southern Alberta Art Gallery, Lethbridge, Alberta |
| Galerie René Blouin, Montréal, Québec (also 1998,1996, 1995, 1993, 1992) | |
| 1992 | Plug-In Inc., Winnipeg, Manitoba |
| 1991 | Forest City Gallery, London, Ontario |
| 1990 | Kingston Artists’ Association, Kingston, Ontario |
| Oboro, Montréal, Québec | |
| Nothing Up My Sleeve, Mercer Union, Toronto, Ontario | |
| 1987 | Without Language, YYZ, Toronto, Ontario |
| Articule, Montreal, Québec | |
| Selected Group Exhibitions | |
|---|---|
| 2024 | Contextile 2024, Contemporary textile art Biennial, Guimarães, Portugal |
| Suspension: Holly King and Sarah Stevenson, galerie Art Mûr, Montréal, Québec | |
| Le Temps Passe Lentement, Blouin Division, Montréal, Québec | |
| 2023 | Révélations, Grande Palais Éphémère, Paris, France |
| 2022 | Sarah Stevenson & Naomi London, La Vitrine (Atelier Daigneault | Schofield) Montréal, Québec |
| 2021 | Biennale international du lin de Portneuf, Québec |
| 2020 | Inaugural Exhibition, Blouin Division, Montréal, Québec |
| 2019 | Alexander, Carl, Herzog, Stevenson, Trépanier Baer Gallery, Calgary, Alberta |
| 2017 | Dessins 3, Galerie René Blouin, Montréal, Québec |
| 2016 | Galerie René Blouin, Montréal, Québec |
| 2013 | Galerie René Blouin, Montréal, Québec |
| 2011 | 25 ans, Galerie René Blouin, Montréal. Québec |
| i Level, Katzman Kamen Gallery, Toronto | |
| 2010 | Another Country, Anna Leonowens Gallery, NSCAD University, Halifax, Nova Scotia |
| L’Éclatement des frontières, 1965-2000. Œuvres de la collection du Musée national des beaux-arts du Québec | |
| Titres IV, Musée d’art de Jolliette, Jolliette, Québec | |
| 2009 | Jardins, Galerie René Blouin, Montréal, Québec |
| Titles 5, Art Metropole, Toronto, Ontario | |
| 2008 | Bad Dog, No Biscuit, Leo Kamen Gallery, Toronto |
| Titles 3, Libraire L’écume des Jours/Galerie Articule, Montréal | |
| Titles 4, Attic Books/forest City Gallery, London, Ontario | |
| 2007 | Oeuvres de la collection Prêt d’œuvres d’art, Musée national des beaux-arts du Québec. |
| 2006 | Fray, Textile Museum of Canada, Koffler Centre, Toronto, Ontario, |
| 2005 | Langage plastique, Galerie Art Mûr, Montréal, Québec |
| 2003 | Between Line and Form, Ottawa Art Gallery, Ontario |
| 2002 | Officina America, Villa della Rosa, Galleria d’Arte Moderna, Bologne, Italie |
| Le corps et ses absences, Musée d’art contemporain de Montréal, Montréal, Québec | |
| 2001 | Rendez-Vous No 3, Collection Lambert, Avignon, France |
| Artwithheart, Benifit Auction for Casey House, Toronto, Ontario | |
| Paysages, Galerie René Blouin, Montréal, Québec | |
| Artcité, Musée d’art contemporain de Montréal | |
| 2000 | Snapshot, The Contemporary Museum, Baltimore, Maryland, USA |
| London Biennale 2000, Internet and various locatons, London, England | |
| The Very Thing, Dalhousie Art Gallery, Dalhousie Art Gallery, Dalhousie University, Halifax Nova Scotia | |
| 1999 | Redefining the Still Life: Selections from the Permanent Collection/La nature morte:ouevres tirèes de la collection permanente, Leonard and Bina Ellen Art Gallery, Concordia University, Montréal, Québec |
| 1998 | Between Body and Soul, Leonard and Bina Ellen Gallery, Concordia University, and Liane and Danny Taran Gallery, Centre Saidye Bronfman, Montréal, Québec |
| El origen de las cosas, Sala de las Custodias, Santafé de Bogotà, Colombie | |
| 1997 | Von Kopf bis Fuss, Ursula Blickle Stiftung, Kraichtal, Germany, Kunstraum Innsbruck, Innsbruck, Austria, |
| Die Burgenländische Landesgalerie, Eisenstadt, Austria | |
| L’origine des choses, Winnipeg Art Gallery, Winnipeg, Manitoba | |
| La collection Prêt d’ouvres d’art, acquisitions 1997, Musée du Québec, Québec | |
| Brancusi-Une fictionde l’atelier, Axe NÉO-7, Hull, Québec | |
| 1996 | L’écart, centre d’art contemporain La Ferne du Buisson, France |
| Ginette Légaré, Lucie Robert and Sarah Stevenson, Glendon Galery, York University, North York, Ontario | |
| 1995 | A Notion of Conflict-A Selection of Contemporary Canadian Art, Stedelijk Museum Amsterdam |
| The Table Project, The Power Plant, Toronto, Ontario | |
| L’origine des choses, Oakville Galleries, Oakville, Ontario | |
| 1994 | Perspective (Sarah Stevenson and Carlo Cesta), Art Gallery of Ontario, Toronto, Ontario |
| L’origine des choses, Musée d’art contemporain de Montréal, Montréal, Québec and the Ottawa Art Gallery, Ottawa, Ontario | |
| Séduction: Jana Sterbak, Sarah Stevenson et Javier Pérez, Galerie René Blouin, Montréal, Québec | |
| From the Permanent collection, a Selection of Recent Aquisitons/Choix d’aquisitions récentes de la collection permanente, Galerie d’art Leonard et Bina Ellen, Concordia University, Montréal. Québec | |
| 1993 | Prospect 93, Frankfurter Kunstverein, Shirn Kunsthalle Frankfurt, Frankfurt, Germany |
| 1992 | 34 Räume, Berlin, Germany |
| 1989 | Beyond Surface, Western Front, Vancouver, British Columbia |
| 1987 | Artropolis, Vancouver, British Columbia |
| Bibliography | |
|---|---|
| Catalogues | |
| Into the Fray, text by Carolyn Bell Farrell, Textile Museum of Canada, Toronto, 2007 | |
| Espaces suspendus/Suspended Spaces, Hundreds and Thousands /Des centaines et des milliers, text by Makiko Hara, Art Gallery of Bishop’s,University, Lennoxville, Québec, 2002 | |
| Officina America, text by Renato Barilli, Villa della Rosa. Galleria d’Arte Moderna, Bologne, Italy, 2002 | |
| Almost Invisible, text by Michael Tarantino, Southern Alberta Art Gallery, Lethbridge, Alberta, 2001 | |
| The Very Thing, text by Susan Gibson Garvey and Robin Metcalfe, Dalhousie Gallery, Dalhousie University, Halifax, Nova Scotia, 2000 | |
| Between Body and Soul / Entre Corps et Âme, text by Karen Antaki and David Liss, Leonard & Bina Ellen Art Gallery, Concordia University, Liane and Danny Taran Gallery, Centre Saidye Bronfman, Montréal, 1999 | |
| Von Kopf bis Fuss, Ursula Blickle Stiftung, Kraichtal. Editions Stemmle, 1997 | |
| L’écart, text by Daniel Dobbels, Centre d’art contemporain de La Ferme du Buisson, Noisel, France, 1996 | |
| Ginette Légaré, Lucie Robert and Sarah Stevenson, Glendon Gallery, Glendon College, York University, City of North York, 1996 | |
| A Notion of Conflict; A Selection of Contemporary Canadian Art, text by Dorine Mignot, Stedelijk Museum, Amsterdam, 1995, ill.p. 35 | |
| Perspective 94, text by Christine Ritchie, Art Gallery of Ontario, Toronto, 1994 | |
| L’origine de choses, text by Pierre Landry, Musée d’art contemporain de Montréal, 1994, ill, pp. 39, 40, 41 | |
| Prospect 93, text by Peter Weiermair, Frankfurter Kunstverein et Schirn Kunsthalle Frankfurt, Germany, 1993, ill. pp. 235, 236, 237 | |
| Townsend, Martha: Sarah Stevenson (interview), Mercer Union, Toronto, 1990 | |
| Selected Periodicals | |
|---|---|
| Mirny, Naomi, “Sarah Stevenson’s Before the Storm explores the turbulent intimacy of stillness”, The McGill Tribune, May 20, 2021 | |
| Dunlevy, T’Cha, “Three Montreal artists reframe line between art and life in new shows: Janet Werner, Sarah Stevenson and Françoise Sullivan reimagine the world around them as the city emerges from a lockdown haze“, The Montréal Gazette, May 28, 2021 | |
| De Pencier, Hannibal, “Sarah Stevenson, Fonderie Darling, Montréal”, esse.ca, Montréal, July 14, 2021 | |
| Delgado, Jérôme, “Sarah Stevenson poursuivra sa réflexion sur l’apesanteur,” Le Devoir, Montréal le 22 mars, 2008 | |
| Milroy, Sarah “The Best of Canadian Sculpture”, Globe and Mail, Toronto, Novermber 3, 2001 p. V7 | |
| Lammerich, Yvonne, “Why does Terror seem so intimate?”, Etc, No 54, eté, 2001 pp.48-52 | |
| Gopnik, Blake:”Remaking the World in our Image”, Globe and Mail, Toronto, February 9, 2000, p.R10 | |
| Workman, Sharon;”Sculpture’s The Thing”, Halifax Chronicle-Herald, January 16, 2000 | |
| Marikakis, Nicolas; ”Le corps réinventé”, Voir, Montréal, 19 au 25 novembre 1998, p.75 | |
| Liss, David; “Peculiar, perceptive, promising : Vitality in works by Stevenson, Goodwin, Ocampo and Fisher”, The Gazette. Montréal, Saturday, February 25, 1995, p. H6 | |
| Cummins, Louis; “La fin des complicités”, Parachute, No 77, janv., fév., mars 1995, pp.27-32 | |
| MacKay, Gillian; “Perspective 94: Carlo Cesta and Sarah Stevenson”, Canadian Art, Winter 1994, Vol. 11, No. 4, pp. 78 | |
| Cron, Marie-Michèle:”Les choses de la vie”, Le Devoir, Montréal, les samedi et dimanche 30 octobre 1994 p.D 11 | |
| Bradley, Jessica; Sarah Stevenson, Canadian Art, Vol. 10. no 4, Winter 1993 p. 69 | |
| Gillmor, Alison; “Art explores cruel constrictions”, Winnipeg Free Press, Saturday, October 17, 1992, p. 36 | |
| Gravel, Claire;”Oboro: Sarah Stevenson”, Le Devoir, avril 1990 | |
| Collections | |
|---|---|
| Claridge Collection | |
| Collection de la Caisse de dépôt du Québec | |
| Canada Council Art Bank, Ottawa | |
| Crédit Lyonnais Canada, Montréal | |
| Musée d’art contemporain de Montréal, Montréal | |
| La collection prêt d’ oeuvres d’art du Musée du Québec, Québec | |
| Leonard and Bina Ellen Gallery, Concordia University, Montréal | |
| Collection Lambert, Avignon, France | |
| Various private collections | |
| Awards | |
|---|---|
| Prix Les Femmeuses Pratt & Whitney Canada and Conseil des arts de Montréal, 2008 | |
| Public Works | |
|---|---|
| Vortex, Arena Pat Burns, Stanstead, Québec, 2011 | |