On the fourth floor of the Vancouver Art Gallery, one room belongs entirely to Emily Carr. In normal exhibit procedure, her biography is neatly printed and sketches and paintings fill the four walls. In Totem Poles, Kitseukla from 1912, gray carvings rise from the earthy tones of a village, the poles shaped into the signature animal forms of Northwest Indigenous tribes; it was the first Emily Carr painting the gallery ever bought. But another biography is also on display, both metaphorically and quite literally printed in text—the story of Vancouver Art Gallery itself.
That Emily Carr rates a special exhibition (up through September 2024) isn’t surprising;
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