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Sandra Semchuk

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Sandra Semchuck
Born1948
Meadow Lake, Saskatchewan, Canada
NationalityCanadian
EducationBachelor of Fine Arts, University of Saskatchewan, Saskatchewan, 1970 Masters Degree in Photography, University of New Mexico, 1983
Known forPhotography,
AwardsGovernor General's Award in Visual and Media Arts (2018)

Sandra Semchuk (born 1948) is a Canadian photographic artist.[1]

In 1998, Presentation House, Vancouver, B.C. programmed "How Far Back is Home ..." a 25-year retrospective of Semchuk's career highlighting her relationship to identity, morality and land.[2]

Sandra was awarded a grant from 2008-2015 from the Canada First World War Internment Fund to complete her book on Ukrainians in Canada, The Stories Were Not Told: Stories and Photographs from Canada's First Internment Camps, 1914-1920.[3]

Career

Semchuk's early photographic works have been said to belong to a “broad general category of documentary”.[4] Her photographic portrait works from this era, more specifically her 1982 series of eighty-seven photographs entitled Excerpts from a Diary, address themes of death and family [5] whilst presenting a narrative of “self-examination and transformation” through her use of self-portraits and images containing domestic and prairie backgrounds.[6]

Penny Cousineau-Levine, the author of Faking Death: Canadian Art Photography and the Canadian Imagination, writes of Excerpts from a Diary that the journey of Semchuk's protagonist “follows the structure of classic initiatory voyages of descent and return, death and rebirth, the prototype of which is the Greek legend … of Orpheus, who, grief-stricken at the death of his wife, descends to the underworld to convince the god Pluto to allow her to return to earth.” [7] Cousineau-Levine goes on to state that these photographic sequences “take the shape of heroic descent into darkness and peril, into an experience of death and nothingness followed by rebirth, a transformed relation to the self, and a renewed connection to life”, something that she claims offers “an understanding of death that is particularly relevant to Canadian photography.” [7]

Collaboration with James Nicholas

James Nicholas & Sandra Semchuk were married until James died suddenly and unexpectedly in 2007. James was a Cree artist from Nelson House, Manitoba. He suffered extensively in residential schools as a child.[8] Their collaborative work focused on the multiplicity of relationships to land, cultural geography, settler and indigenous relationships and memory.[9]

Collaboration with Skeena Reece

In 2013, Sandra Semchuk worked with performance artist Skeena Reece on a piece titled Touch Me for the exhibition Witnesses: Art and Canada’s Indian Residential Schools. During this performance, Reece and Semchuk struggle with themes of forgiveness and mother-daughter relationships as Reece bathes Semchuk.[10]

Education

Select solo exhibitions[12]

  • 2016 The Stories Were Not Told, Comox Valley Art Gallery, Courtenay, BC[13]
  • 1998 How Far Back is Home . . . ., Presentation House, Vancouver, B.C.[14]
  • 1991 Coming to Death's Door, a daughter/ father collaboration, Presentation House, Vancouver, B.C.
  • 1991 Moving Parallel: Reconstructed Performances from Daily Life, Photographers Gallery, Saskatoon, Saskatchewan; Prince George Art Gallery, Prince George, British Columbia; University of Waterloo Art Gallery, Waterloo, Ontario; Robert McLaughlin Gallery, Oshawa, Ontario; Art, Gallery of Windsor, Windsor, Ontario; McKenzie Art Gallery, Regina, Saskatchewan; Nickle Arts Museum, Calgary, Alberta; Floating Gallery, Winnipeg, Manitoba; Gallery 44, Toronto, Ontario
  • 1990 Paralleling the Bird, Forest City Gallery, London, Ontario; Contemporary Art Gallery, Vancouver, British Columbia
  • 1986 Ritual, the Photographic Sequence, Forest City Gallery, London, Ontario
  • 1986 The Coburg Gallery, Vancouver, British Columbia
  • 1982 Excerpts from a Diary, Mendel Art Gallery, Saskatoon, Saskatchewan
  • 1979 The Photographers Gallery, London, England
  • 1975 The Photographers Gallery, Saskatoon, Saskatchewan
  • 1973 The Photographers Gallery, Saskatoon, Saskatchewan

Awards

Collections[11]

Publications

  • Semchuk, Sandra. 2018. "The Stories Were Not Told: Canada's First World War Internment Camps." The University of Alberta Press. Print.
  • Semchuk, Sandra, and Laurel Tien. "Telling Story! Voice in Photography: An Online Visual Art Critical Studies Program Evaluation." International Review of Research in Open and Distance Learning 5.3 (2004): n. pag.ProQuest Education Journals [ProQuest]. Web. 17 Sept. 2016.
  • Semchuk, Sandra. Toward Real Change: My Photographic Work Done in Saskatchewan from 1972-1982 and in New Mexico from 1982-1983. Diss. U of New Mexico, 1983. Albuquerque, New Mexico: U of New Mexico, 1983. Simon Fraser University Library Catalogue. Web. 17 Sept. 2016.
  • Semchuk, Sandra. 1991. Coming to Death's Door: A Daughter/Father Collaboration. North Vancouver: Presentation House Gallery, 1992. Print.
  • Semchuk, Sandra. 1989. Moving Parallel: Reconstructed Performances from Daily Life. Toronto: Gallery 44 Centre for Contemporary Photography, 1989. Print.

References

  1. ^ "Sandra Semchuk". National Gallery of Canada. Archived from the original on 2016-11-12. Retrieved 2016-11-12.
  2. ^ "Sandra Semchuk: How far back is home… - Presentation House Gallery". Archived from the original on 2016-10-19. Retrieved 2016-11-12.
  3. ^ "Grants | Canadian First World War Internment Recognition Fund | 202-952 Main Street, Winnipeg, Manitoba, R2W 3P4 | Phone: 204-589-4282 | Toll Free: 1-866-288-7931". www.internmentcanada.ca. Archived from the original on 2021-03-03. Retrieved 2021-09-25.
  4. ^ Cousineau-Levine, Penny. Faking Death: Canadian Art Photography and the Canadian Imagination. Montreal: McGill-Queen's UP, 2003.DèsLibris Canadian Electronic Library. McGill-Queen's University Press, 1 June 2004. Web. 17 Sept. 2016. p. 65
  5. ^ Cousineau-Levine, Penny. Faking Death: Canadian Art Photography and the Canadian Imagination. Montreal: McGill-Queen's UP, 2003.DèsLibris Canadian Electronic Library. McGill-Queen's University Press, 1 June 2004. Web. 17 Sept. 2016. p.218
  6. ^ Cousineau-Levine, Penny. Faking Death: Canadian Art Photography and the Canadian Imagination. Montreal: McGill-Queen's UP, 2003.DèsLibris Canadian Electronic Library. McGill-Queen's University Press, 1 June 2004. Web. 17 Sept. 2016. p. 220
  7. ^ a b Cousineau-Levine, Penny. Faking Death: Canadian Art Photography and the Canadian Imagination. Montreal: McGill-Queen's UP, 2003.DèsLibris Canadian Electronic Library. McGill-Queen's University Press, 1 June 2004. Web. 17 Sept. 2016. p.223
  8. ^ missnesbitt (22 December 2014). "Residential school trauma and healing: the art of James Nicholas & Sandra Semchuk". Archived from the original on 19 October 2016. Retrieved 12 November 2016.
  9. ^ Kunard, Andrea, and Carol Payne. The Cultural Work of Photography in Canada. Montreal: McGill-Queen's UP, 2011. Print.
  10. ^ Dowell, Kristin (Spring 2017). ""Residential Schools and "Reconciliation" in the Media Art of Skeena Reece and Lisa Jackson"". Studies in American Indian Literatures. 29: 116–138. doi:10.5250/studamerindilite.29.1.0116. S2CID 164907414.
  11. ^ a b c d Semchuk, Sandra. Coming to Death's Door: A Daughter/father Collaboration: October 19 to November 24, 1991, Presentation House Gallery. North Vancouver, BC: Gallery, 1992. Print.
  12. ^ "Sandra Semchuk". art-history.concordia.ca. Archived from the original on 2008-03-29. Retrieved 2016-11-12.
  13. ^ "The Stories Were Not Told". Archived from the original on 2021-01-18. Retrieved 2021-09-25.
  14. ^ "Sandra Semchuk: How Far Back Is Home…". The Polygon. 2011-01-19. Archived from the original on 2020-03-03. Retrieved 2020-03-03.
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