Current Exhibitions
Dianne Bos - The Sleeping Green. No man's land one hundred years later
From April 3 to September 8, 2017

Opening on Saturday April 1st from 4 pm to 8 pm - Free entrance International book launch of the publication Sleeping Green directed by Josephine Mills published by the University of Lethbridge Art Gallery in partnership with the Canadian Cultural Centre.

Meeting with the artist and the curator, and the author Harry Vandervlist presented by Catherine Bédard at 5 pm. Booking:

Dianne Bos uses a line from British poet and soldier Isaac Rosenberg’s famous WWI poem Break of Day in the Trenches for the title of this exhibition. The Sleeping Green: no man’s land 100 years later consists of extraordinary photographs taken in ‘no-man’s land’ between the trenches on the Western Front.

Dianne Bos - The Sleeping Green. No man's land one hundred years later

For more images from The Sleeping Green exhibition please see "New Work" portfolio.

War Stories 1917
April 9 - August 25, 2017
The Military Museums

A selection from Dianne Bos’ black and white photo series looking at the WW1 landscapes of Vimy Ridge, Somme and Passchendaele are featured in this exhibition.

4520 Crowchild Trail SW, Calgary AB T2T 5J4

Poetics of Light: Pinhole Photography
17 March - 25 June 2017
National Media Museum, Bradford, West Yorkshire, England

Poetics of Light is the European premiere of an exhibition of original prints of pinhole photography from around the world. Collected by Eric Renner and Nancy Spencer over the last 30 years, the images reveal an alternate version of reality, creating a unique form of visual poetry.

An exhibition questioning how eyes, brains and robots see.
March 1st 2017 until 20th October 2017.

Patricia and Phillip Frost Museum of Science
1101 Biscayne Blvd, Miami

To Bury the Sun
Dianne Bos, Sarah Crawley, Steve Gouthro
January 19 - March 18, 2017
Art Gallery of Southwestern Manitoba. Brandon, Manitoba

In response to the exhibition Through the Lens, curated by Suyoko Tsukamoto. an exhibition of photographs drawn from local, private and public collections that illustrate the lives and time of Brandon and its soldiers during World War 1, To Bury the Sun addresses the gaps within the official retelling of war histories through archival images, family photographs, and works by Dianne Bos, Sarah Crawley, and Steve Gouthro. To Bury the Sun looks at the responsibility and burden of remembering, both collective and personal. Bos’ pinhole images of War War I sites are idyllic and haunted, sheep grazing on the landscape shaped by trenches and bombs. Crawley’s photographs of ‘dead albums’ contain only traces of absent photographs, while their original contents have been moved into archives. They are an archive of absences, images severed from their context. Meanwhile, Gouthro’s work in the scale of historical war painting subverts the expectation of a grand narrative, replacing it with the mundane.