Audain's Anniversary Show: A New Canon for British Columbia Art

WHISTLER, BC – November 25, 2025

The Audain Art Museum (AAM) in Whistler, a striking landmark of West Coast architecture nestled among the mountains, is celebrating its upcoming tenth anniversary not with a quiet retrospective, but with a bold declaration of its identity and influence. Its new landmark exhibition, From Sea to Sky: The Art of British Columbia, draws exclusively from the museum's permanent collection, but this is no simple showcase of old favorites. Instead, it is a masterfully curated argument for a more expansive, complex, and inclusive understanding of what constitutes the art of this province. By juxtaposing foundational historical works with newly acquired contemporary pieces, the AAM is using its decennial milestone to cement its role as a key architect of British Columbia's evolving cultural narrative.

A Decade of Defining Influence

Opening its doors in 2016, the Audain Art Museum was born from the significant philanthropic vision of Michael Audain and Yoshiko Karasawa. In less than a decade, it has transformed from a private legacy project into a formidable public institution with national reach. The growth has been both strategic and swift. The initial permanent collection of just over 200 works has been meticulously expanded by the museum's Acquisition Committee to now include more than 300 pieces. This expansion is not merely about quantity; it reflects a deliberate strategy to deepen and diversify its holdings of British Columbia's most significant artists.

This curatorial ambition is backed by impressive financial and operational growth. The museum's endowment fund, crucial for its long-term viability, rapidly surpassed its initial targets, and its annual fundraising galas have become major events, with the most recent auction grossing over one million dollars. This financial strength has enabled the AAM to punch well above its weight, originating nationally touring exhibitions like Wolves: The Art of Dempsey Bob and hosting international blockbusters such as Manabu Ikeda: Flowers from the Wreckage, which drew record crowds to Whistler. The museum has become an indispensable pillar of Whistler's tourism strategy, which increasingly relies on arts and culture to attract a global audience beyond the ski slopes. From Sea to Sky is the culmination of this decade-long trajectory, a powerful demonstration of an institution that has not only arrived but is now confidently setting the agenda.

Beyond the Familiar Canon

At the heart of From Sea to Sky is a powerful curatorial statement that challenges the traditional, often bicultural, narrative of British Columbian art. While masterpieces by well-known figures like Emily Carr and the Group of Seven's A.Y. Jackson are present, the exhibition's true impact lies in who they now share the walls with. The show intentionally presents a cross-cultural experience, featuring works by artists of Indigenous, European, Asian, and, notably, African ancestry.

The inclusion of contemporary Vancouver artist Jan Wade is particularly significant. A Black Canadian artist of mixed heritage, Wade has been creating powerful mixed-media assemblages exploring themes of Black identity, spirituality, and culture for over 40 years. Her work, which often uses found and recycled objects, draws on traditions of Black Southern quilting and improvisation. After decades of working on the periphery of the mainstream art world, Wade is finally receiving what many critics call "overdue acknowledgement." Her 2021 solo exhibition at the Vancouver Art Gallery was the first by a Black woman in that institution's 90-year history. The AAM's recent acquisition of her work and its prominent placement in this anniversary show signals a conscious effort to write Black artistic history into the provincial canon—a narrative that has been conspicuously absent for too long. This move reflects the museum's commitment to mirroring the province's true, ever-evolving socio-political identity.

From First Contact to Contemporary Voices

The exhibition's vast chronological scope is one of its most compelling features, creating a dynamic conversation across centuries. This is powerfully illustrated by the inclusion of what the museum describes as "never-before-seen works" by 18th-century naval draughtsman John Webber. As the official artist on Captain James Cook's third voyage, Webber created the very first visual records of the Pacific Northwest and its Indigenous peoples for a European audience when the expedition anchored in Nootka Sound in 1778. These drawings and paintings are of inestimable ethnological and historical value, representing the precise moment of first sustained contact. To display these original works, likely held in private archives until now, is to present a foundational document of British Columbia's cross-cultural history.

Flashing forward more than two centuries, the exhibition showcases pivotal works by leading contemporary artists, many of whom have been subjects of solo exhibitions at the museum. This includes pieces by Rebecca Belmore, a distinguished Anishinaabe artist and the recent recipient of the prestigious 2024 Audain Prize for the Visual Arts, Canada's top art award. Belmore, who represented Canada at the Venice Biennale, creates politically charged work addressing Indigenous realities. Also featured is Karin Bubaš, a photographic artist whose atmospheric works have gained international acclaim. By placing these contemporary innovators in dialogue with a historical figure like Webber, the exhibition collapses time, tracing a line from the province's colonial origins to its complex, post-colonial present. As Director & Chief Curator Dr. Curtis Collins states, "Visitors will be pleasantly surprised by the breadth and quality of the Museum's collection. It is a true testament to the outstanding art produced within British Columbia."

The Architecture of Ambition

An exhibition of this scale and curatorial ambition is not possible without a robust support structure. The AAM's success is built upon a savvy combination of philanthropic vision, public engagement, and strategic corporate partnerships. The role of Royal Bank of Canada (RBC) as the Presenting Sponsor for From Sea to Sky is a case in point. This is not a simple transaction but a continuation of a deep-rooted relationship. RBC, a major patron of the arts in Canada, has previously partnered with the museum on its Emerging Artists Project, aligning with its national mandate to support artists at critical career stages. This sustained corporate investment provides the essential resources that allow the institution to mount major exhibitions and expand its programming.

This ecosystem of support extends to the local level through a vital partnership with the Fairmont Château Whistler. By integrating the museum into the resort's visitor experience—offering guided tours and prominently featuring it as a key cultural attraction—the partnership directly connects the AAM to Whistler's three million annual visitors. It's a symbiotic relationship that enhances Whistler's brand as a premier cultural destination while driving attendance and engagement for the museum. This carefully constructed network of support, from national corporations to local hospitality leaders, provides the stable foundation upon which the Audain Art Museum builds its bold artistic vision, ensuring its influence will continue to shape Canadian art for decades to come.