We are honoured to work with our Guest Curator Kagan Goh along with a number of incredible community partners including; Gallery Gachet, the Community Arts Council of Vancouver, Connection Salon, Workman Arts, Rendezvous With Madness and Voices With Impact. As a direct result of this collaboration, we are pleased to be able to present the Gifts of Madness exhibition her at the Penticton Art Gallery which we hope will continue on in some form at one of our presenting partners later this year.

In 2022, the Vernon Public Art Gallery joined forces with Calgary-based artist Katie Green and the Turning Points Collaborative Society to develop an ambitious multifaceted public art project. The result was, Behind the Mask, a community driven public art process that uses handmade masks as a way to build community, find healing, and explore self. Katie Green collaborated closely with 10 individuals from the community and together they came together in an intimate three-part workshop series that included round circle sharing, journaling, mask-making, and creative character development.

The Penticton Art Gallery is seeking the public’s input on Canada’s Medical Assistance in Dying (MAID) Program in the form of a handwritten, typewritten letter or email to be displayed in the gallery from March 23 – May 11, 2024, as part of our MAID in Canada exhibition.

The intent of this exhibition is to provide the community with a safe space to reflect, talk and explore the impacts and the implications of Canada’s Medical Assistance in Dying (MAID) Program. If it hasn’t impacted your life already it’s only a matter of time before you or someone you know will be directly impacted by it.

The Penticton Art Gallery's Adopt a Painting Program is a pivotal force in the recent growth of our Permanent Collection. Despite the majority of artworks in our collection being acquired through donations, this initiative has emerged as a dynamic catalyst for securing significant pieces through crowdsourced fundraising efforts. Our selection process undergoes a comprehensive evaluation to ensure that each acquisition not only enhances the depth of our collection but also strategically addresses gaps, thereby enriching the overall significance of our gallery holdings.

Established in 1972, the Penticton Art Gallery's Permanent Collection has expanded and grown over the years through a combination of donations and occasional purchases. Encompassing paintings, sculptures, drawings, printmaking, ceramics, and photography, the collection stands as a powerful testament to the prevailing issues shaping our times.

Collections like that of the Penticton Art Gallery inspire us to recognize art as integral to the human experience, shaping collective memory and influencing public discourse.

The En’owkin Centre is an Indigenous post-secondary arts and cultural centre located on the Penticton Indian Reserve. En'owkin's unique building design reflects a traditional Okanagan winter home also known as a pit house. It is a gathering place where families and community members can replenish themselves spiritually and is also a teaching place where story, co-operation, craft and artistry come together. The En'owkin Centre (hereafter referred to as En'owkin) is a dynamic institution, which puts into practice the principles of self-determination and the validation of cultural aspirations and identity.

Each year the Gallery puts a call out to artists of all kinds to submit three artworks, all priced under $500. This exhibition receives interest from artisans, crafters, and visual artists working in all media from across British Columbia.

Born February 18, 1946, a son, brother, and the third youngest of 9 children born to Guy and Myrtle Constant, a residential school survivor and an Artist, Alvin Elif Constant was a Cree born on the James Smith Cree Nation, where he developed a passion for painting and drawing since he was a child.

The Fibre Art Network (FAN) is a co-operative of self-defined artists based in Western Canada. The co-operative was first conceived in the spring of 1998 by British Columbians Pat Crucil and Gail Hunt and then organized later that year by Gail. Since then, FAN has created 31 exhibitions exhibited at 98 Canadian venues and 9 International venues.

For nearly a decade now, a gathering of artists has been taking place in Edmonton each Saturday, their collective presence standing as a testament to their seasoned experience and artistic maturity. This isn't a congregation of young, naive novices; rather, it's an assembly of individuals who have meticulously honed their craft over time. Bound together by a shared love for unabashed artistic expression, they convene in local cafés, where tables are pushed together, transforming the space into a hub of creative energy.

The En’owkin Centre is partnering with the Penticton Art Gallery, Ignite the Arts Festival, and 2 Rivers Remix Society to present skəlγap, an exhibition celebrating the 20-year anniversary of the National Indigenous Professional Artist Training Program. The exhibition will feature works by current learners, faculty, and invited Indigenous artists, showcasing a range of disciplines such as storytelling, media arts, performance arts, painting, sculpture, installation art, creative writing, and marketing. The En’owkin Centre is an Indigenous post-secondary arts and cultural centre located on the Penticton Indian Reserve, offering programs that protect and preserve Indigenous worldviews and art expressions within traditional heritage while utilizing contemporary practice.

The Penticton Art Gallery is thrilled to announce its 50th anniversary celebration, an exhibition featuring a diverse selection of artworks, each with a special story and significance to their owners. From meaningful gifts to incredible thrift store finds, these pieces represent the impact that art has on our lives and the diversity of the human experience.

Each year the Gallery puts a call out to artists of all kinds to submit three artworks, all priced under $500. This exhibition receives interest from artisans, crafters, and visual artists working in all media from across British Columbia.

Each year the Gallery puts a call out to artists of all kinds to submit three artworks, all priced under $500. This exhibition receives interest from artisans, crafters, and visual artists working in all media from across British Columbia.

Featuring artists ranging from up-and-coming to established, Living While Marginalized focuses on unpacking and highlighting the daily marginalization and discrimination LGBTQ2S+ and BIPOC Communities face.

Each year the Gallery puts a call out to artists of all kinds to submit three artworks, all priced under $500. This exhibition receives interest from artisans, crafters, and visual artists working in all media from across British Columbia.

Amidst the COVID-19 pandemic lockdown Edward Mapplethorpe was restricted by limited access to his studio and materials to pursue his artistic practice. The idea for American Cycle was conceived from the depths of his isolation in response to the barrage of dispiriting news coverage concerning the deplorable state of our United States.

Dirk Van Stralen saw his first cartoon published in Coquitlam’s Tri-City News in 1987. In 1990 he began a 17 year relationship with the Georgia Straight producing the much loved and award-winning weekly single panel cartoon, “vanstralen”.

To Talk With Others responds to the minutes of a meeting in August of 1977 between Prime Minister Pierre Elliot Trudeau and five Yukon First Nations leaders regarding the then-approved Mackenzie Pipeline.