BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Vernon Public Art Gallery - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://vernonpublicartgallery.com X-WR-CALDESC:Events for Vernon Public Art Gallery REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Vancouver BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20250309T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20251102T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20260308T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20261101T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20270314T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20271107T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Vancouver:20260320T100000 DTEND;TZID=America/Vancouver:20260520T170000 DTSTAMP:20260613T124451 CREATED:20260204T212601Z LAST-MODIFIED:20260402T185750Z UID:10000228-1774000800-1779296400@vernonpublicartgallery.com SUMMARY:I'm in this World\, Doing DESCRIPTION:Vivian Smith\n\n\n\n\n\nCaroline Galbraith GalleryMarch 20 – May 20\, 2026Opening Reception: March 19 from 6 to 8 pm \n\n\n\n\n \n Exhibition Publication \n\n\n\nI’m in This World\, Doing is a body of work that explores the hidden systems of labour that quietly sustain our daily lives. Through mixed-media works and installations\, Vivian Smith examines how unpaid care work\, domestic labour\, and affective labour remain economically invisible despite their essential role in supporting society. The exhibition draws attention to the intersection of the gift economy and capitalism\, embedding images of unpaid work into objects that hold greater market value than the labour they depict. In doing so\, Smith challenges viewers to reconsider how we assign worth\, productivity\, and compensation in contemporary life.Rooted in personal documentation\, the works feature photographs of the artist performing everyday tasks—cleaning\, cooking\, and caregiving—printed onto domestic textiles such as chiffon\, satin\, silk\, and linen\, then coated in beeswax. These materials reference both gendered expectations of care and the natural labour of worker bees. By transforming these images through hand-stitching\, quilting\, and sculptural installation\, Smith reveals how women’s labour connects intimate home spaces to global economic systems. The exhibition ultimately advocates for recognition and systemic change\, including the need for Universal Basic Income as a way to value essential work that remains unseen.Vivian Smith is an artist based in Mohkinstsis (Calgary)\, Alberta. She holds a Bachelor of Fine Arts with Distinction from the Alberta University of the Arts and has participated in numerous residencies\, including at the Kiyooka Ohe Arts Centre and the Similkameen Artist Residency. Her work has been supported by the Canada Council for the Arts and the Calgary Arts Development Authority\, and she has exhibited widely across Canada. Through her interdisciplinary practice\, Smith focuses on labour\, gender\, and economic systems\, creating work that encourages dialogue about how care\, value\, and community are interconnected. \n\n\n\n\n\nIn the Corners of the Eye\, 2024. \n\n\n\n\n\nA Place for Relaxation\, 2025.\n\n\n\n\n\nGlass Walls\, 2024. URL:https://vernonpublicartgallery.com/event/im-in-this-world-doing LOCATION:British Columbia CATEGORIES:2026,Exhibitions ATTACH;FMTTYPE=image/webp:https://vernonpublicartgallery.com/wordpress/wp-content/uploads/2026/02/Im-in-this-World-Doing.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Vancouver:20260521T100000 DTEND;TZID=America/Vancouver:20260620T160000 DTSTAMP:20260613T124451 CREATED:20260512T200333Z LAST-MODIFIED:20260527T190935Z UID:10000250-1779357600-1781971200@vernonpublicartgallery.com SUMMARY:Gathered DESCRIPTION:SD#22 Indigenous Students\n\n\n\nCommunity GalleryMay 21 – June 20\, 2026 \n\n\n\nOpening Reception: May 28 from 6 to 8 pm \n\n\n\nGathered celebrates the creativity\, cultural knowledge\, and artistic expression of Indigenous students from across School District No. 22. Featuring works by students from elementary through secondary school\, the exhibition brings together a wide range of artistic approaches and materials\, reflecting the unique perspectives and lived experiences of each young artist.  \n\n\n\nRooted in both tradition and contemporary expression\, many of the works draw upon cultural teachings\, connections to land and community\, and personal narratives\, while also engaging with the realities of the present moment. Together\, these works speak to the importance of creativity as a space for storytelling\, learning\, and self-expression\, offering a vibrant reflection of the many voices and experiences within Indigenous youth communities today.  \n\n\n\nThe School District No. 22 teachers who support and encourage these students’ artistic practices play an essential role in making this exhibition possible\, and we extend our sincere gratitude for the care\, time\, and encouragement they continue to provide. Special thanks are also owed to Amiel Logan for his collaboration\, generosity\, and dedication in helping bring this exhibition together\, and for the care and joy he brought to every stage of the project.  \n\n\n\n\n\nTogether\, Sarah Pomeroy\n\n\n\n\n\n\n \n \n \n Four Food Chiefs\, Julieth Divinagracia\n\n\n\n\n\n\n \n \n \n Untitled\, Jessica Methot URL:https://vernonpublicartgallery.com/event/gathered LOCATION:British Columbia CATEGORIES:2026,Exhibitions ATTACH;FMTTYPE=image/webp:https://vernonpublicartgallery.com/wordpress/wp-content/uploads/2026/05/skʷukʷwiɬp-wild-rose-1.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Vancouver:20260529T080000 DTEND;TZID=America/Vancouver:20260729T170000 DTSTAMP:20260613T124451 CREATED:20260331T230829Z LAST-MODIFIED:20260527T183148Z UID:10000248-1780041600-1785344400@vernonpublicartgallery.com SUMMARY:Fireline Kinship DESCRIPTION:Taylor Baptiste\n\n\n\nCaroline Galbraith GalleryMay 29 – July 29\, 2026 \n\n\n\nOpening Reception: May 28 from 6 to 8 pm \n\n\n\nFireline Kinship is a multidisciplinary exhibition by Taylor Baptiste of the Osoyoos Indian Band and Syilx Okanagan Nation. Developed in response to intensifying climate realities in the Okanagan and the 2021 Nk’Mip wildfire\, the work examines the relationship between fire\, land stewardship\, and cultural continuity\, while reflecting on the processes of collective healing that follow environmental and community trauma. \n\n\n\nThe exhibition features a short film alongside sculptural regalia and sculptural works that engage fire as both a site of loss and a catalyst for renewal. Through material\, movement\, and image\, Baptiste reflects on kinship with the land\, the responsibilities carried within that relationship\, and the role of community in navigating loss\, resilience\, and renewal. \n\n\n\n\n\n\n \n \n \n Wildfire Regalia I (film still)\n\n\n\n\n\n\n \n \n \n Flicker of Memory\n\n\n\n\n\n\n \n \n \n Extinguisher URL:https://vernonpublicartgallery.com/event/fireline-kinship LOCATION:British Columbia CATEGORIES:2026,Exhibitions ATTACH;FMTTYPE=image/webp:https://vernonpublicartgallery.com/wordpress/wp-content/uploads/2026/03/Website-Featured-Image-1-1.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Vancouver:20260529T100000 DTEND;TZID=America/Vancouver:20260725T160000 DTSTAMP:20260613T124451 CREATED:20260331T225808Z LAST-MODIFIED:20260527T183409Z UID:10000247-1780048800-1784995200@vernonpublicartgallery.com SUMMARY:Emergence DESCRIPTION:Averi Boerboom\, Trinity Davis\, Rain Doody\, Carly Johnson\, Clifford Jasper Ozee\, Stevie Poling\, and Maya Taki\n\n\n\nTopham Brown GalleryMay 29 – July 25\, 2026 \n\n\n\nOpening Reception: May 28 from 6 to 8 pm \n\n\n\nFor over two decades\, the Vernon Public Art Gallery’s annual Emergence exhibition has been developed in close collaboration with the University of British Columbia Okanagan\, offering a first professional platform for a selection of graduating BFA and BMS students. More than a showcase\, Emergence has come to function as a kind of barometer—an early signal of the material\, conceptual\, and aesthetic directions shaping the next wave of contemporary practice. \n\n\n\nThe 2026 exhibition features work by Averi Boerboom\, Trinity Davis\, Rain Doody\, Carly Johnson\, Clifford Jasper Ozee\, Stevie Poling\, and Maya Taki—seven artists whose practices reflect both the diversity and urgency of this year’s graduating cohort. \n\n\n\nThis year’s work is notably ambitious. Across disciplines\, it is large\, loud\, and unapologetically present. Installation-based practices dominate\, with artists constructing immersive environments that invite viewers not just to observe\, but to enter—worlds built through accumulation\, texture\, and spatial awareness. Sculpture and painting also play a significant role\, foregrounding process and the visible trace of the artist’s hand. In a moment increasingly defined by the rise of artificial intelligence and digital production\, these works insist on labour\, material presence\, and embodied making. \n\n\n\nWhat emerges across these practices is a shared investment in the deeply personal. Whether grappling with memory and loss\, the fading textures of childhood\, queer identity\, inherited histories\, or the instability of perception\, each artist engages with what it means to be human in a rapidly shifting cultural landscape. From Boerboom’s tender meditations on memory and Alzheimer’s\, to Doody’s embrace of the grotesque and imperfect\, to Taki’s negotiation of mixed heritage through material and form\, the works collectively resist detachment in favour of vulnerability and specificity. \n\n\n\nIf Emergence offers a glimpse of what is to come\, then the future of contemporary art is not quiet or minimal—it is expansive\, materially grounded\, and insistently human. \n\n\n\n\n\n\n\nAveri Boerboom\n\n\n\nAveri Boerboom’s printmaking and installation practice centers on memory and nostalgia\, rooted in vivid childhood experiences with her grandmother. As a child\, she would explore her grandmother’s closet\, draping scarves around her shoulders\, layering jewelry over her small hands\, and stepping into oversized heels. These sensory memories\, filled with scent\, texture\, and presence\, formed a deep connection that later shaped her understanding of her grandmother’s journey with Alzheimer’s disease. \n\n\n\nBoerboom transforms personal recollections into layered prints and installations using lace\, ribbon\, buttons\, and clothing patterns printed on evolon and Stonehenge paper. Through material cutouts and carefully composed arrangements\, she echoes the structure and intimacy of her grandmother’s wardrobe. Neutral tones and delicate fabrics carry sentimental weight\, evoking both closeness and absence. \n\n\n\nBy engaging with the intersection of remembering and forgetting\, Boerboom’s work preserves fleeting moments\, inviting viewers to reflect on the fragments of memory that endure over time. \n\n\n\n\n\n\n \n \n \n Frilly Tank\, 2026\n\n\n\n\n\n\n \n \n \n Alice (Detail)\, 2026\n\n\n\n\n\n\n\n\n\nTrinity Davis\n\n\n\nTrinity’s work explores themes of childlike wonder and unrestrained creativity-qualities that shaped her earliest memories. As a child\, imagination came naturally as she built worlds with toys and immersed herself in the colour and charm of illustrated books. Over time\, however\, that sense of wonder faded as adulthood introduced responsibilities\, expectations\, and the pressures of sustaining a future. Celebrations once filled with excitement\, such as holidays and birthdays\, gradually became quieter\, often overshadowed by everyday concerns. \n\n\n\nThrough her printmaking practice\, Trinity confronts this loss and works to restore a sense of awe. Her prints are multilayered collaged compositions that distort\, reassemble\, and enlarge imagery drawn from childhood books and illustrations. Small images are amplified into monumental forms\, transforming familiar visuals into immersive experiences. \n\n\n\nBy enlarging halftones\, dots\, and printed textures\, Trinity reveals the structure behind these imagined worlds\, inviting viewers to reconnect with nostalgia\, curiosity\, and wonder. \n\n\n\n\n\n\n \n \n \n A Page Out of My Book (Detail)\, 2026\n\n\n\n\n\n\n \n \n \n A Page Out of My Book (Detail)\, 2026\n\n\n\n\n\n\n \n \n \n A Page Out of My Book (Detail)\, 2026\n\n\n\n\n\nRain Doody\n\n\n\nRain Doody is a multimedia artist working mainly through sculpture and caricature. In his work\, he experiments through usage of raw vs polished materials\, and toes the line of the jank. He draws inspiration from acne scars\, mole hairs\, folds and shades of skin\, and the muppets. \n\n\n\n“My vision is inter dimensional beings have noticed the ridiculosity in humans self-inflicted suppression. Why must everything be tiny\, smooth\, and minimalist? Humans are losing their most interesting parts; so they’ve infiltrated this plane to shock us back into our factory settings.” \n\n\n\nGrowing up queer in the 2000s\, Rain explores the effect of social media on self expression and perception. He embraces the strange and unusual through texture and colour\, and creates ‘perfectly janky’ works to reflect the unique delight in imperfection. \n\n\n\n\n\n\n \n \n \n Coke Float (Left)\, 2025\, and Don’t taste the batter (Right)\, 2026.\n\n\n\n\n\n\n \n \n \n Coke Float (Detail)\, 2025\n\n\n\n\n\nCarly Johnson\n\n\n\nCarly Johnson’s body of work stems from an interest in the theme of the contrast of lighting in night scenes\, and a fear of what lurks in the dark; physically and metaphorically. She decided to reach out of her comfort zone to create a body of work that specifically incorporates dark lighting and themes of discomfort\, encompassing the uncertainty of the unknown through oil paints on canvas. The locations painted are all places that hold meaning to her\, whether it is simply close to her childhood home\, or local places that hold a deeper\, significant impact. \n\n\n\nCarly works by capturing her own reference images\, typically shot around the Rutland community. Having a personal connection to the photo and painting itself helps to establish a sense of nostalgia for her. She hopes to explore ways in which she can further the narrative of something potentially lurking\, and a feeling of mystery in her paintings. \n\n\n\n\n\n\n \n \n \n Take Me Out to the Ball Game\, 2026\n\n\n\n\n\n\n \n \n \n Another Bridge to Cross\, 2026\n\n\n\n\n\nClifford Jasper Ozee\n\n\n\nClifford Ozee is a sculptor whose work centers on the fabrication and transformation of steel. His practice is built through hands on experimentation and a close engagement with the physical behavior of the material. Using welding\, plasma-cutting\, and hydroforming\, he pushes steel beyond what can be shaped by hand alone\, learning its limits through repeated trials of pressure\, heat\, and force. \n\n\n\nOzee’s current work focuses on hydroformed ampersands\, the \n\n\n\n“and” symbol. Each form is carefully fabricated and finished through mirror polished stainless steel and powder coating in bright primary colors. The work emphasizes precision and craftsmanship while acknowledging the subtle distortions created by pressure. \n\n\n\nThrough disciplined fabrication and repetition\, Ozee develops forms that reveal both the strength and vulnerability of steel. Each sculpture reflects a commitment to process\, technical skill\, and refinement within a demanding material. \n\n\n\n\n\n\n \n \n \n M2\, 2026\n\n\n\n\n\n\n \n \n \n M1 (Detail)\, 2026\n\n\n\n\n\n\n \n \n \n Installation image of M1\, M2\, and S1 (Detail)\, 2026\n\n\n\n\n\nStevie Poling\n\n\n\nStevie Poling is a queer multimedia artist working primarily with fibre and textile materials. She was born in the Kootenays and grew up in Melbourne\, Australia. Stevie practices textile manipulation through an interdisciplinary feminist and queer lens\, viewing the medium as an “inherently\, unavoidably female and/or queer practice”. The connections made within sewing communities is manifested in the way fibres are woven and tangled together to form a garment or artwork. \n\n\n\nShe is inspired by her Mum\, Samantha\, who is a quietly counter-cultural feminist\, an antique collector\, and photographic artist. Samantha’s love of history and oddities found its way inherently interwoven into Stevie’s practice\, visualised in her maximalist exploration of themes of domesticity and patriarchal expectations and\, further\, the Abject (Julia Kristeva) and embodiment. Stevie’s work aims to evoke a playtul sense of scale and gesture while counterbalancing its aesthetic with dichotomous feminist and queer discourse. \n\n\n\n\n\n\n \n \n \n And an even better house plant (Installation)\, 2026\n\n\n\n\n\n\n \n \n \n And an even better house plant (Installation)\, 2026\n\n\n\n\n\nMaya Taki\n\n\n\nMaya Taki is a sculptor and painter who works primarily in oil paint and steel. Her work explores iconic Japanese imagery popular in tattooing. \n\n\n\nWorking with designs that she creates digitally\, she transforms them to large steel cutouts with several layers that she uses as painting supports. Blending sculptural language with painting\, she works across mediums to merge her interests together. A recurring theme in Maya’s work is identity\, and the tensions that come along with being from a mixed heritage. Combining traditional styles and ways of making art with a contemporary lens has been a way for her to learn more about her ancestry while also including a perspective as someone who grew up and currently lives in Canada. \n\n\n\n\n\n\n\n\n \n \n \n Balancing Act (Sensu)\, 2026\n\n\n\n\n\n\n \n \n \n Reading Between the Lines\, 2026 URL:https://vernonpublicartgallery.com/event/emergence-2026 LOCATION:British Columbia CATEGORIES:2026,Exhibitions ATTACH;FMTTYPE=image/webp:https://vernonpublicartgallery.com/wordpress/wp-content/uploads/2026/03/Website-Featured-Image-1-scaled.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Vancouver:20260529T100000 DTEND;TZID=America/Vancouver:20260729T170000 DTSTAMP:20260613T124451 CREATED:20260331T232201Z LAST-MODIFIED:20260512T230446Z UID:10000249-1780048800-1785344400@vernonpublicartgallery.com SUMMARY:Through Our Eyes DESCRIPTION:Teen Junction\n\n\n\nUp-front GalleryMay 29 – July 29\, 2026 \n\n\n\nOpening Reception: May 28 from 6 to 8 pm \n\n\n\nhrough Our Eyes is an exhibition of artwork by youth from BGC Okanagan’s Teen Junction Youth Program. For years\, Teen Junction and the Vernon Public Art Gallery have collaborated to create space for the voices and experiences of Vernon’s youth to be shared through art. \n\n\n\nTeen Junction is a dynamic\, low-barrier environment where youth are welcomed\, supported\, and encouraged to build confidence\, develop relationships\, and explore creative expression. The works presented in Through Our Eyes reflect the importance of these spaces\, demonstrating how art can become a powerful tool for self-expression\, communication\, and connection. \n\n\n\nThis year’s exhibition explores the contrast between how youth feel they are perceived by society and how they truly see themselves. Through drawing\, painting\, mixed media\, and personal storytelling\, the artists challenge assumptions\, share lived experiences\, and reclaim their own narratives with honesty and vulnerability. Together\, the works invite viewers to look beyond stereotypes and encounter these young people through a lens of resilience\, individuality\, and humanity. \n\n\n\nSpecial thanks to the staff and mentors at BGC Okanagan for the care\, encouragement\, and support they provide to youth in our community\, and to Sara Isaac\, whose dedication and leadership continue to guide and shape this exhibition each year.  URL:https://vernonpublicartgallery.com/event/throughoureyes-2026 LOCATION:British Columbia CATEGORIES:2026,Exhibitions ATTACH;FMTTYPE=image/jpeg:https://vernonpublicartgallery.com/wordpress/wp-content/uploads/2025/06/Print-Chloe-Zimmerman-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Vancouver:20260626T100000 DTEND;TZID=America/Vancouver:20260711T160000 DTSTAMP:20260613T124451 CREATED:20260331T234308Z LAST-MODIFIED:20260424T184356Z UID:10000251-1782468000-1783785600@vernonpublicartgallery.com SUMMARY:MEA Auction Preview DESCRIPTION:Community GalleryJune 25 – July 11\, 2026 \n\n\n\nOpening Reception: June 25 from 6 to 8 pm \n\n\n\nThe MEA Auction Preview offers a first look at the full collection of artworks generously donated by local and regional artists in support of the Vernon Public Art Gallery’s annual MEA fundraising auction. \n\n\n\nInstalled in the gallery throughout the month leading up to the event\, this exhibition invites visitors to experience the artworks in person\, explore a wide range of creative practices\, and learn more about the participating artists. Whether you’re a seasoned collector or a first-time bidder\, the preview provides the perfect opportunity to plan your bids in advance and support the arts in your community. \n\n\n\nDon’t miss this chance to discover new artists\, connect with the gallery\, and help ensure the continued success of one of VPAG’s most important fundraising events of the year! URL:https://vernonpublicartgallery.com/event/mea-auction-preview LOCATION:British Columbia CATEGORIES:2026,Exhibitions ATTACH;FMTTYPE=image/webp:https://vernonpublicartgallery.com/wordpress/wp-content/uploads/2026/04/MEA-Exhibition-Website-Featured-Image-1.webp END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Vancouver:20260807T100000 DTEND;TZID=America/Vancouver:20261010T160000 DTSTAMP:20260613T124451 CREATED:20260609T182250Z LAST-MODIFIED:20260609T182436Z UID:10000258-1786096800-1791648000@vernonpublicartgallery.com SUMMARY:Opera Obscura DESCRIPTION:Mary Kavanagh\n\n\n\nCaroline Galbraith GalleryAugust 7 – October 10\, 2026 \n\n\n\nOpera Obscura is a large-scale installation by Canadian artist Mary Kavanagh. For nearly three decades\, Kavanagh has examined archives\, memory\, and sites where knowledge is classified\, withheld\, or at risk of disappearing — through an art practice consistently attentive to material evidence linked to histories and territories. In this new work\, she turns her attention to one of the defining institutions of civic life: the library. At the exhibition’s centre are approximately 2\,000 deaccessioned books sourced from the annual collection review of the University of Lethbridge Library. Spanning disciplines\, languages\, and eras\, each volume has been individually hand-inked to black and arranged in a dense gridded field. Serial and austere\, the installation evokes both catalogue and cenotaph. Gilded titles\, embossed surfaces\, library markings\, and traces of use remain partially visible beneath layers of ink — a tension between erasure and preservation extended through a companion series of black-on-black photographs\, where individual volumes are isolated\, lit\, and slowly disclosed.The project investigates the library as a site of cultural negotiation — an institution through which knowledge is ordered\, preserved\, overwritten\, and lost. Blackening becomes a form of witnessing — of sitting with what Walter Benjamin describes as the collector’s bind: that books do not belong to us so much as we belong to them\, inhabited by what we have gathered.¹ Drawing on Hannah Arendt’s argument that attention is itself a civic act\, Opera Obscura gives loss a body and registers its weight.² The work reflects on the incremental transformations reshaping public institutions — technological change\, economic pressure\, shifting political priorities — that quietly alter the conditions through which knowledge circulates and endures. Opera — from the Latin opus: work\, labour\, effort; its plural form suggesting not a single work but a body of works\, the cumulative product of sustained human toil. Obscura — from obscurus: dark\, hidden\, withdrawn — names both a material condition and a state of disappearance. The title carries an echo of camera obscura\, where darkness becomes the condition of seeing — a logic extended through the photographic series\, where blackened surfaces yield rather than withhold. Monumental in scale and elegiac in tone\, the project registers the slow erosion of the material record\, the institutions entrusted with its keeping\, and the accelerating political forces that now threaten both. \n\n\n\n\n\n\n\n¹ Walter Benjamin\, “Unpacking My Library\,” in Illuminations\, trans. Harry Zohn (New York: Schocken Books\, 1969)\, 59–67. Originally published 1931.² Hannah Arendt\, Men in Dark Times (New York: Harcourt\, Brace & World\, 1968). \n\n\n\n\n\n\n \n \n \n Black Book Study 01a (covers) | Agrippa von Nettesheim\, Heinrich Cornelius. Opera. 2 vols. Facsimile reprint of Lyon: per Beringos fratres\, [c. 1580]. With an introduction by Richard H. Popkin. Hildesheim and New York: Georg Olms Verlag\, 1970. Deaccessioned from the University of Lethbridge Library\, 2025.\n\n\n\n\n\n\n \n \n \n Black Book Study 01b (interior pages fan) | Agrippa von Nettesheim\, Heinrich Cornelius. Opera. 2 vols. Facsimile reprint of Lyon: per Beringos fratres\, [c. 1580]. With an introduction by Richard H. Popkin. Hildesheim and New York: Georg Olms Verlag\, 1970. Deaccessioned from the University of Lethbridge Library\, 2025. URL:https://vernonpublicartgallery.com/event/opera-obscura LOCATION:British Columbia CATEGORIES:2026,Exhibitions ATTACH;FMTTYPE=image/webp:https://vernonpublicartgallery.com/wordpress/wp-content/uploads/2026/06/Black-Book-Study-01a-covers-scaled.webp END:VEVENT END:VCALENDAR