Fall 2014 - The Bob Rosenberg Group

Transcription

ABC Art Books Canada
National and International Promotion and Distribution
of Canadian Art Publications
New Publications 2014
National Gallery of Canada | Musée d’art contemporain de Montréal | Art Gallery of Alberta | Art Gallery of Greater Victoria | Plug In ICA |
Rennie Collection | The Robert McLaughlin Gallery | Textile Museum of Canada | Agnes Etherington Art Centre | Carleton University Art
Gallery | Galerie de l’UQAM | The Ottawa Art Gallery | Kamloops Art Gallery | Burnaby Art Gallery | Musée d’art de Joliette | Cambridge
Galleries | Confederation Centre Art Gallery | Dalhousie Art Gallery | Kitchener Waterloo Art Gallery | MacLaren Art Centre | McMaster
Museum of Art | Musée régional de Rimouski | McClure Gallery | MSVU Gallery | Oakville Galleries | Southern Alberta Art Gallery |
Richmond Art Gallery | Kelowna Art Gallery | Rodman Hall Art Centre| Gallery 1C03 University of Winnipeg | Mendel Art Gallery | The
Gardiner Museum | Riverside Architectural Press | Beaverbrook Art Gallery |
Jack Bush
Marc Mayer and Sarah Stanners
With contributions from Adam Welch and Karen Wilkin
National Gallery of Canada
“Look - you are no longer a local painter - or even a Canadian painter. You are a
world painter.…Very few painters can handle color like you can.”
Clement Greenberg to Jack Bush
This major monograph on the extraordinary career of the
Canadian painter is published to accompany the first retrospective
exhibition in over 35 years. Born in Montreal and raised in Toronto,
Jack Bush (1909-1977) reinvented himself like very few artists moving from a close association with Canada’s Group of Seven
landscape painters to an even closer association with the great
names of international modernist abstraction. Four experts in their
fields outline Bush’s ambitious trajectory from his years as an
illustrator, through his membership in seminal art associations like
the Canadian Group of Painters and Painters Eleven, to his
career-changing meeting with the influential American art critic
Clement Greenberg. The artist’s enduring professional relationship
with the art world’s most prominent intellectual of the time would
ignite his international career and place him alongside Morris
Louis, Jules Olitski and Frank Stella as one of the great Color
Field artists. Jack Bush’s singular transformation from provincial
artist in the 1940s to celebrated figure on the New York and
London gallery scenes in the 1960s and 70s is engagingly told
through new photography, previously unpublished diary excerpts
and fresh scholarship making this unprecedented survey of his life
and work the definitive book on the artist to date. With more than
120 full-color plates, this superb publication features works that
boldly burst through as the best in high modern art.
Jack Bush
Marc Mayer and Sarah Stanners
National Gallery of Canada
300 pp 150 col. ill. 11 x 11 in hardcover 9780888849250 $45.00 Can. $54.00 U.S.
November 2014
Marc Mayer is Director and CEO of the National Gallery of Canada and
author of monographs on Thomas Nozkowski (2009) and Neo Rauch
(2006). Sarah Stanners is authoring the forthcoming catalogue raisonné
of paintings by Jack Bush. Adam Welch has held curatorial positions at
the National Gallery of Canada and the Whitney Museum of American Art.
Karen Wilkin has authored and co-authored numerous publications
notably Color as Field: American Painting, 1950-1975 (2007),
and Clement Greenberg: A Critic's Collection (2001).
ABC Art Books Canada Distribution
[email protected]
www.abcartbookscanada.com
Off the Grid:
Abstract Painting in New Brunswick
Terry Graff
Contributors: Virgil Hammock, Ian G. Lumsden, Jacques Martin
and Maryse Grondin, and Ingrid Mueller
Beaverbrook Art Gallery
NEW PUBLISHER
This lavishly illustrated publication constitutes a ground-breaking
statement on the presence, nature and meaning of nonrepresentational painting in New Brunswick. In most authoritative
narratives of the visual arts in Canada, developments in the artistic
life in the province are often pushed to the historical margins or
even absent, in favour of reinforcing the same identifiable names,
movements and styles. In reality, however, the story of the visual
arts in Canada is infinitely richer and more complex than most
cursory discourses tell us. As this publication ably reveals, there is
a unique history of abstract painting in New Brunswick that has,
until now, never been told. And it is one that can only deepen our
understanding and appreciation of Canadian visual arts culture.
The artists featured include a wide range of senior, mid-career,
and emerging artists: Jared Betts, David Bizzo, Sarah Cale, Luc
Charette, Lionel Cormier, Mark DeLong, Angel Gomez, Georges
Goguen, Toby Graser, Jay Isaac, Jocelyn Jean, Christian Michaud,
Deanna Musgrave, Dana O’Regan, Sarah Petite, Lori
Slauenwhite, and David Umholtz.
Also highlighted is a selection of non-figurative art by some of the
province’s pioneering abstract painters, most notably Jack
Humphrey, Lawren P. Harris, Fritz Brandtner, Claude Roussel,
Off The Grid: Abstract Painting in New Brunswick
Terry Graff et al
212 pp 130 col. ill. 9 x 9 in softcover 9780920674772 $50.00 Can. $55.00 U.S.
July 2014
Joseph Kashetsky, and Roméo Savoie, and the surprising
recovery of R. D. Turnbull, one of Canada’s earliest
abstractionists, who made a significant contribution to the
development of Abstract Expressionism in North America, but is
virtually unknown in the annals of Canadian art history.
[email protected]
Ted Smith
Roger Boulet and Charo Neville
Kamloops Art Gallery
Five decades of work are featured in this brilliantly illustrated
monograph documenting the first retrospective exhibition of the
painter’s career in over 20 years. Ted Smith is a master of colour
and knows how paint can convey the most subtle feelings and
how abstract elements, influenced by the natural environment, can
change the fundamental nature of a work. His work is informed by
the surrounding landscape and he has always felt comfortable
moving between the representational and the abstract. Sometimes
a landscape is depicted through fine brushstrokes and a definition
of form; sometimes it is present only through subtle reference.
Most often his paintings contain a tension between the two. It is
this bold approach to landscape, or more accurately, his interest in
the act of painting, that defines Smith’s artistic practice.
Ted Smith was born in Vernon, British Columbia in 1933 and did
not immediately pursue an artistic career. Only in 1960 did he
enter the Vancouver School of Art where he trained with artists
such as Roy Kiyooka and Jack Shadbolt. Smith has remained a
prolific painter for the past many decades and continues to paint
into his 80s. His works can be found in major collections
throughout the country.
Ted Smith
Roger Boulet and Charo Neville
Kamloops Art Gallery
96 pp 60 col. ill. 12 x 12 in hardcover 9781895497823 $29.95 Can. $34.95 U.S.
July 2014
[email protected]
Eric Atkinson:
Journeys Through the Landscape
Ted Fraser, Terry Graff and Don Bonham
NEW PUBLISHER
Eric Atkinson is a major Canadian abstract landscape painter,
whose extensive career as an artist and art educator straddles
both sides of the Atlantic, and is currently being rediscovered in
England. A visual poet of the landscape, his paintings are created
on the studio floor by working from all four sides of a canvas. He
disrupts the picture plane, an amalgam of sand and glue, with
incised calligraphic markings that suggest the natural rhythms of
wind and water, of sculpted landforms created over the course of
thousands of years from geological erosion - a layering of time
and ancient memory. Appropriately referred to by the artist as
“journeys through the landscape”, his paintings are not literal
depictions, but expressions of the interpenetration of inner and
outer landscapes, of the integral relationship between the
processes of art making and the forces of nature, or as Atkinson
states, “the forms echo the geological structure of the land and the
calligraphy left by man and nature upon its surface.”
Born in Hartlepool, England, in 1928, Atkinson was the assistant to
Harry Thubron at Leeds College of Art from 1955 to 1961 before
he succeeded him as Head of Fine Art. He emigrated to Canada in
1969 and became Dean of Applied Arts at Fanshawe College in
London, Ontario. The Basic Course at Leeds is now recognized as
one of the most innovative post-Bauhaus education programs in
Eric Atkinson: Journeys Through the Landscape
Ted Fraser, Terry Graff and Don Bonham
July 2014
Europe, a radical change in art educational thinking that values
self-expression and the creative process over the transfer of
technical skills and a permanent set of artistic values that also
became part of Atkinson’s legacy at Fanshawe College. Atkinson’s
work has been exhibited widely in Britain, Canada, and the United
States, and is represented in many public and private collections.
[email protected]
The Grace of a Gesture:
Fifty Years of Gifts to the Musée d’art
contemporain de Montréal
“All great museums are collections of great collections.”
James Cuno, Director, Art Institute of Chicago
Josée Bélise
Musée d’art contemporain de Montréal
Artists of different generations, nationalities and disciplines are
brought together in this superb publication highlighting the
privileged relationship between a museum and its community.
Published on the occasion of the 50th anniversary of Canada’s
premier contemporary art museum and accompanying a sprawling
exhibition, this splendidly illustrated publication pays tribute to the
artists, collectors, and galleries whose initiative and generosity
brought this singular institution into being in 1964. Featuring fifty
works donated over fifty years, the breathtaking range of artists
featured constitutes an encyclopedic repertory of legendary
names, notably Marina Abramovic, David Altmejd, Louise
Bourgeois, Daniel Buren, Edward Burtynsky, Marcel Dzama,
Rodney Graham, Anselm Kiefer, Kent Monkman, Nam June Paik,
Jean-Paul Riopelle, Spencer Tunick, Irene F. Whittome, and Ian
Wallace. The growth of the collection from its first 100 works to its
current holdings of nearly 8,000 is portrayed as a living portrait of
the art of our times: multidisciplinary, transhistorical and
heterogeneous. With more than 100 colour illustrations including
numerous plates and fold-outs and complete bibliographic notices.
The Grace of a Gesture: Fifty Years of Gifts to the
Josée Bélisle
196 pp 120 col. ill. 10.5 x 8 in softcover
9782550704911
$34.95 Can. $42.95 U.S.
June 2014
All texts in English and French.
[email protected]
David R. Harper:
Entre le Chien et le Loup
“Harper’s work is a cross somewhere between the Royal Art Lodge, Christian
reliquaries, and Maurizio Cattelan.” Joseph Henry Blouin ArtInfo
Robin Metcalfe, Crystal Mowry, Jan Peacock, Lisa Stone
and Jim Zanzi
The Ottawa Art Gallery
Enclosed within a hardcover slipcase, this sober volume opens to
reveal a remarkable artistic practice. Working in a range of
disparate disciplines including embroidery and taxidermy, David R.
Harper creates elaborate objects that situate themselves between
sculpture and public memorial. With installations that look at key
historical periods of cultural, scientific and artistic development,
the artist conjures up particular modes of craft and domestic
embellishment that articulate peculiar links to an ‘ordered’ natural
world. Reflecting upon cultural fetishes like preserved animals in
19th century parlors and museums, and bear skin rugs in mid-20th
century suburban rec rooms and modern western rural homes,
Harper engages the viewer in a dialogue on the historical and
emotional weight that the objects embody. The publication’s
subtitle refers to a French expression evoking that uncertain time
of day just before evening when one cannot distinguish a dog from
a wolf, or the familiar from the dangerous.
David R. Harper is a Chicago-based Canadian artist whose work
has been exhibited in solo and group exhibitions throughout
Canada and the United States, notably: National Gallery of
Canada (Ottawa), Textile Museum of Canada (Toronto), and
David R. Harper: Entre le Chien et le Loup
Robin Metcalfe, Crystal Mowry, Jan Peacock, Lisa
Stone and Jim Zanzi
120 pp 60 col. ill. 8.5 x 5.5 in hardcover (with slipcase)
9780772754141
$30.00 Can. $35.00 U.S.
July 2014
MASS MoCA (North Adams, MA). This publication accompanies a
cross-country exhibition and is co-published with Doris McCarthy
Gallery, Kitchener-Waterloo Art Gallery, Kenderdine Art Gallery
and St. Mary’s Gallery.
[email protected]
Gisele Amantea:
Sweet Dreams Hard Truths
Eve-Lyne Beaudry, Rebecca Duclos and Denise Markonish
Musée d’art de Joliette
Gisele Amantea’s twenty-five year career featured in a stunning
new hardcover volume. Materially rich and with great attention to
design and ornamentation, Amantea’s installations delve into
questions of history and memory, particularly as related to women.
The monograph follows the evolution of Amantea’s career starting
with early works that are exuberant examples of the “rococokitsch” style typical of her practice. These pieces demonstrate her
interest at that time in the symbols of folk culture and the
stereotypes usually associated with them. The second section
features works from the late 1990s where the feminist viewpoint,
which could be glimpsed in the earlier work, is strongly apparent.
The last section is devoted to the artist’s current practice and
features hitherto unseen pieces denoting her preoccupation with
the concept of barriers and the use that has been made of them
by various cultures now and in the past.
Calgary-born Gisele Amantea lives and works in Montreal, Her
work has appeared in numerous exhibitions, notably in MASS
MoCA’s Oh Canada: Contemporary Art from North North America.
Essays in English and French.
Eve-Lyne Beaudry is curator of contemporary art at the Musée.
Rebecca Duclos is Graduate Dean at the School of the Art
Institute of Chicago. Denise Markonish is curator at MASS MoCA.
(North Adams MA.)
Gisele Amantea:
Sweet Dreams Hard Truths
Eve-Lyne Beaudry et al
Musée d’art de Joliette
110 pp 44 col. ill. 10 x 8 in hardcover
9782921801539 $24.95 Can. $29.95 U.S.
June 2014
[email protected]
David Thauberger:
Road Trips & Other Diversions
Thauberger’s paintings, prints and ceramics make a powerful statement
of place, culture and history.
Sandra Fraser, Timothy Long, Peter White, Andrew Kear, Patricia
Bovey and Ted Fraser
The Mendel Art Gallery
This wonderfully illustrated casebound edition highlights the work
of one of Canada’s most important contemporary artists. David
Thauberger’s paintings, prints and ceramics are immediately
recognizable for their iconic depictions of vernacular architecture,
such as legion halls, false-front businesses, churches and houses.
Whether working in patterned watercolours, flocked prints,
ceramics, or taped and stenciled paintings, Thauberger straddles
the line between industrial and handmade techniques, his
extensive formal training counterbalanced by a rejection of the
formal limitations of a fine art approach. Informed by popular
culture, postcard imagery, folk art, and utopian urban planning
concepts, his art practice combines a keen eye for popular idioms
with an encyclopedic knowledge of twentieth century art. Through
his work Thauberger shows that Regionalism and Modernism are
not always contradictory. Six original essays discuss a wide range
of topics related to the artist’s work, notably, the material and
psychological richness of the Prairies as understood through his
complex relationship to it. Published in conjunction with a major
nationally touring retrospective exhibition, this first comprehensive
overview of a remarkable career features 100 full colour
reproductions of works created between 1971 and 2009, and a 30minute documentary on DVD produced by Novina Motion Pictures
Inc. Essays in English and French. Published with the MacKenzie
Art Gallery.
David Thauberger:
Road Trips & Other Diversions
Sandra Fraser, Timothy Long et al
208 pp 100 col. ill. 10.25 x 9.25 in. hardcover
(casebound) 9781896359847
$55.00 Can. $65.00 U.S.
September 2014
David Thauberger has one of the most impressive exhibition
histories among Canadian artists with works included in over 80
public and corporate collections, including the National Gallery of
Canada, Vancouver Art Gallery, Art Gallery of Ontario, and Musée
d’art contemporain de Montréal. David Thauberger lives and works
in Regina, Saskatchewan.
[email protected]
Four Turns of a Key:
Metalworks by Elma Johnston McKay
Terry Graff
NEW PUBLISHER
Elma Johnston McKay is a master metalsmith who, between 1996
and 2009, researched and crafted an extensive collection of
replications and interpretations of historical keys. This publication
presents, for the first time, McKay’s creative exploration of the
design, metalwork, and symbolic use of keys in imagery and lore
across time and different cultures. This collection of handcrafted
keys formed in copper, silver, brass, and gold includes “inspiration”
pieces (replicas or likenesses of historical keys derived from
artworks or literary sources) and contemporary reinventions of
those key(s) based on themes ranging from competition to
tolerance, patronage to greed.
McKay has identified four core qualities that are exemplified by the
key as an object: Beauty, Difference, Symbolism, and Progress.
These qualities resonate in the work: the aesthetic quality and
exquisite craftsmanship and artistic skill evident in the individual
works; the metaphoric celebration of individualism objectified in
the key (a thing that must be unique to function); the continuation
of an art historical tradition of engaging symbolism to convey
universal themes; and a physical manifestation of progress in the
relationship between old and new, inspiration and interpretation,
traditional craft and contemporary art. Elma Johnston McKay’s
practice is a rare merging of contemporary fine craft, fine art, and
art history.
Four Turns of a Key:
Metalworks by Elma Johnston McKay
Terry Graff
The Beaverbrook Art Gallery
72 pp 78 col. ill. 10 x 8 in softcover 9780920674734
$25.00 Can. $30.00 U.S.
July 2014
[email protected]
Emanuel Licha:
Striking a Pose
Marie-Hélène Leblanc, Andréanne Roy & Tina Di Carlo
Musée régional de Rimouski
Best known for his provocative War Tourist series, Emanuel Licha
has built a reputation for constructing images that blur the line
between real and simulated military conflict. His films, videos and
photographs operate as real-life tours of battle-stricken areas,
investigating how traumatic and violent events are looked at and
are shown. Works featuring a mock Iraqi village set up by the
American army in the Mohave desert and now operated by
Hollywood professionals, or a French military unit that plays both
sides in a simulated conflict encourage us to question the images
of war that incessantly invade our lives. This career overview looks
at major installations including Mirages (2011), R for Real (2008)
and War Tourist (2004-2008). In English and French.
Born in Montréal, Emanuel Licha lives in Paris where he is
associate Professor at the École nationale supérieure
d’architecture de Paris-La Villette. He is a member of the Centre
for research architecture, Goldsmiths College, University of
London. Recent exhibitions of Licha’s work have been held at
MACBA (Barcelona), NGBK (Berlin), Art Gallery of Ontario
(Toronto), Parsons New School for Design (New York), Witte de
With Centre for Contemporary Art (Rotterdam), and Musée d’art
moderne de la ville de Paris.
Emanuel Licha: Striking a Pose
Marie-Hélène Leblanc, Andréanne Roy
and Tina Di Carlo
Musée régional de Rimouski
June 2014
[email protected]
Christos Dikeakos:
Nature Morte
Claudia Beck, Harold Rhenisch, Jeff Wall, Liz Wylie
Kelowna Art Gallery
As a first-generation member of the Vancouver photoconceptualist
scene with Ian Wallace and Jeff Wall, Christos Dikeakos is as
much an historian as a photographer. For Dikeakos, the process
of looking at a subject overlaps with looking back. Reflecting a
preoccupation with vanishing rural farming and orchard
landscapes and the shifting economic terrain of the British
Columbia’s famed Okanagan Valley, this publication features
photographic images, prints and large projections as well as
various objects and documents drawn from the region. The result
is a multi-layered reading of place through art. The phrase Nature
Morte, the French-language pictorial equivalent of Still Life, here
connotes the literal death of nature. Christos Dikeakos has
exhibited across the country most recently in Traffic: Conceptual
Art in Canada 1965–1980. With an introduction by Jeff Wall.
Claudia Beck is founder of Vancouver’s Nova Gallery, a pioneer
among commercial galleries to show photography. Harold
Rhenisch is a poet and novelist based in British Columbia. Jeff
Wall is an internationally acclaimed artist. Liz Wylie is curator at
Kelowna Art Gallery.
Christos Dikeakos: Nature Morte
Claudia Beck, Harold Rhenisch, Jeff Wall
and Liz Wylie
Kelowna Art Gallery
June 2014
[email protected]
The Adoration of the Shepherds
by El Greco
New study of a significant cornerstone in understanding the artist’s
early career.
David McTavish
Agnes Etherington Art Centre
A scholar of European art brings new understanding to this GrecoItalian masterpiece. In 1991 Queen’s University’s Agnes
Etherington Art Centre acquired a remarkable small Adoration of
the Shepherds painting by El Greco from donors Alfred and Isabel
Bader. For author McTavish this was the beginning of an
adventure in tracing the work’s origins to El Greco’s early career,
and more specifically to his first major transition from his native
Crete to the artistic hotbed of Venice. Using investigative methods
that include radiography and infared refelectography, the author
maps out the work’s position in relation to the artist’s early
production but also to Cretan art, Renaissance prints and works
by Titian, whose ability to convey dramatic light and dynamic
movement left an indelible mark on his young Greek follower.
David McTavish has held many notable positions, including,
Curator of European Painting and Sculpture at the Art Gallery of
Ontario (Toronto), and Director of the Agnes Etherington Art
Centre (Kingston).
The Adoration of the Shepherds by El Greco
David McTavish
48 pp 22 col ill. 9 x 7 in softcover
9781553394044
$12.00 Can. $15.00 U.S.
April 2014
[email protected]
Viewfinders:
Lesa Moriarity, Mike Berube
and Christine Lucy Latimer
Sonya Jones
The Robert McLaughlin Gallery
While Lesa Moriarity, Mike Berube, and Christine Lucy
Latimer are influenced by technical devices, each returns to
traditional practice: painting (Moriarity), the dark room
(Berube), and antiquated film equipment (Latimer). Moriarity
uses the internet as an onlooker, Berube uses the camera
lens as a bystander, and Latimer uses film equipment to
comment on the evolution of technology. In their attempts to
make connections with the world, the emphasis is placed on
their chosen mediums to heighten meaning in their works.
Lesa Moriarity has exhibited in Canada and the United
Kingdom. Mike Berube was a 2008 Magnum Photos
Selected Emerging Photographer. Christine Lucy Latimer
has had screenings at San Francisco Cinematheque and
Toronto’s Images Festival. Latest in a series of biannual
publications dedicated to emerging artists. Viewfinders: Lesa Moriarity, Mike Berube
and Christine Lucy Latime
Sonya Jones
The Robert McLaughlin Gallery
48 pp 36 ill. 7.75 x 9.75 in softcover
9781926589831
$15.00 Can. $18.00 U.S.
June 2014
[email protected]
Beneath a Petroliferous Moon
Artists from around the world respond to the oil industry.
Jen Budney, Vaclav Smil, and Marcella Durand
The Mendel Gallery
Petroleum, in its extraction, distribution, economics, and social,
political, and environmental impacts, defines our contemporary
world, yet in the developed countries that consume it most, oil
remains conspicuously invisible. Taking its title from a Pablo
Neruda’s 1940 poem, Standard Oil Co., this survey of artistic
responses to the oil industry from artists around the world offers a
spectacular range of ideas. While some artists focus on
petroleum’s environmental impacts, others choose to respond to
its social significance, its modern history, or the awe-inspiring
visuals of the industry’s infrastructure and detritus.
".....beneath a petroliferous moon,
a subtle change of ministers
in the capital, a whisper
like an oil tide,
and zap, you’ll see
how Standard Oil’s letters shine above the clouds,
above the seas, in your home,
illuminating their dominions."
from 'Standard Oil Co.' Pablo Neruda
Beneath a Petroliferous Moon
Jen Budney, Vaclav Smil, Marcella Durand, and Pablo
Neruda
The Mendel Gallery
80 pages 45 col. illus. 8.5 x 6.5 inches hardcover
9781896359816
$24.99 Can. $29.99 U.S.
April 2014
Works in the exhibition include: masks fashioned from jerry cans
and found objects by the Yoruba artist Romuald Hazoume, of
Benin; kinetic sculpture based upon the tar sands of northern
Alberta by Calgary artist Robyn Moody; lace-like sculptures made
from oil drums by New York-based Canadian artist Cal Lane;
photographs, drawings, and videos made in Arctic Canada by
Vermont artist and farmer Louisa Conrad; documents and
drawings by Austrian artist Ernst Logar made in the Scottish oil
town of Aberdeen; a delicately carved jerry can by Vancouver’s
Brian Jungen; a video set in North America’s first oil town, Oil City,
Pennsylvania, by Ohio artist Robert Ladislas Derr; a large
sculpture based on oil drums and advertising by Cherokee artist
Jimmie Durham (Rome/Berlin); photographs of the Alberta tar
sands by renowned Toronto photographer Edward Burtynsky;
drawings and sculpture inspired by the Exxon Valdez disaster by
expat Canadian artist Susan Turcot (UK); and a billboard by
Saskatoon artist David LaRiviere.
Jen Budney is Associate Curator at the Mendel Gallery. Vaclav
Smil is a scientist, policy analyst and Distinguished Professor
Emeritus in the Faculty of Environment at the University of
Manitoba. Marcella Durand is the author of AREA (Belladonna
Books) and Traffic & Weather (Futurepoem Books).
[email protected]
Patrick Mahon:
Water Structures,
Printed Sculptural Works 2012-2014
Anne Brydon, Ihor Holubizky, Robert Enright
and Patrick Mahon
McMaster Museum of Art /
Gallery 1C03 University of Winnipeg
Patrick Mahon is noted for his print-based projects that engage
with historical and contemporary aspects of printmaking and
establish community-based art initiatives, including several
regarding the environment. This publication features three major
exhibitions held at various locations across the country. Together
they provide an excellent overview of the artist’s practice. With
Voyageur, Mahon juxtaposes his graphic/wall sculptures with
prints by Dürer, Hogarth and by contemporary artists to examine
the critical role of visual art in moral teaching in the West. Water
Memory Table is a freestanding lattice that floats at table height on
nearly invisible steel legs. Based on a map of the devastating
1950 Winnipeg flood, the grid suggests the survey lines that
section land into farms, and the utility networks that provide heat,
power, water and information; humans build the grids, and nature
washes them away. Water and Tower Allegory presents silhouettes
of utilitarian structures such as towers and platforms, partially
inspired by the industrial sites documented in the spartan images
of German photographers Bernd and Hilla Becher.
Patrick Mahon: Water Structures, Printed
Sculptural Works 2012-2014
Anne Brydon, Ihor Holubizky, Robert Enright McMaster
Museum of Art / Gallery 1C03
60 pp 40 col. ill 10.25 x 8 in softcover
9781926632117
$20.00 Can. $25.00 U.S.
April 2014
Patrick Mahon has exhibited widely throughout the country as well
as internationally, most recently at La Maison patrimonale de
Barthète, France (2011). Original essays and an interview with the
artist explore the many facets of a singular artistic career.
Published with The Robert Langen Art Gallery (Wilfrid Laurier
University).
[email protected]
The Bader Collection:
European Paintings
This entirely new publication of works from the celebrated collection
compliments the first volume on Dutch and Flemish paintings.
David de Witt
For many decades the Agnes Etherington Art Centre has been
receiving European paintings from the Bader Collection from a
wide range of periods and schools, from the German Renaissance
to the Italian Rococo. The core of the collection is Dutch and
Flemish art, in particular paintings by the Dutch Baroque genius
Rembrandt van Rijn and his circle of talented pupils, friends and
followers. These works were fully published in the publication of
2008, noted below.
The Bader Collection: European Paintings
David de Witt
220 pages 212 colour illustrations
12 x 10 inches hardcover 9781553394013 $55.00 Can. $69.00 U.S.
March 2014
This new book presents the substantial group of over fifty
remarkable paintings from other European Schools, notably Italy,
Germany, France and England. A breathtaking early El Greco, a
classic Dosso Dossi, an evocative late Luca Giordano, a truly
surprising Georg Pencz, as well as a signal masterpiece by the
Milanese master Andrea Lanzani highlight the quality and breadth
of this part of the collection. Many works make their public debut
here, with new findings on authorship, meaning, and other
intriguing questions. They are joined by several major recent
Netherlandish acquisitions including a late still life by the
renowned Willem Kalf. Artists include El Greco, Dosso Dossi, Luca Giordano, Georg
Pencz, Andrea Lanzani, Willem Kalf, Adriaen van Ostade, Isack de
Jouderville, Jacques-André-Joseph Aved and Jean Baptiste Henri
Deshays.
Alfred Bader is a renowned collector and dealer of European old
master paintings and a fellow of the Royal Society of Arts.
Also available:
The Bader Collection:
Dutch and Flemish Paintings
David de Witt
342 pp 455 ill 12 x 9 in.
hardcover
9781553390947
$72.00 Can. $79.95 U.S
David de Witt is Bader Curator of European Art at the Agnes
Etherington Art Centre and the author of The Bader Collection:
Dutch and Flemish Paintings.
[email protected]
Jinny Yu:
To Activate Space
“Jinny Yu has made a career from pushing boundaries or just leaving
them behind as she moves forward.” Clayton Windatt, Drain.
Mark A. Cheetham, Penny Cousineau-Levine
and Ola Wlusek
Jinny Yu challenges more than the concept of painting. Her work
questions the very existence of predisposed artistic practices as
she blurs the lines between methodology and ideology. Oscillating
between the fields of the abstract painting and the object, Yu
seeks out aspects of painting beyond the pictorial space, striving
to depict that which is beyond the image. The choice of materials
is integral to her artistic practice and conceptual preoccupations
and she frequently paints with oil on aluminum, whose semireflective surface comprises a pictorial space. For the artist the
pictorial space of the aluminum is a material fact, a pre-existing
condition of the as yet unpainted surface, and by painting on such
a surface, one that is already pictorial, Yu’s work begins where
painting often ends. Born in Korea in 1976 and based in Canada
since 1988, Jinny Yu has shown widely, with exhibitions at the
ISCP Gallery (Brooklyn), Pulse New York, Bevilacqua La Masa
Foundation (Venice), the Kyoto Municipal Museum of Art (Kyoto),
and Sotheby’s (London, UK). Published with Éditions Art Mûr, this
monograph is thoroughly illustrated with original essays and an
interview with the artist.
Jinny Yu: To Activate Space
Mark A. Cheetham, Penny Cousineau-Levine
and Ola Wlusek
59 pp 30 col. ill. 10 x 9.5 in softcover
9782923243078
$30.00 Can. $35.00 U.S.
April 2014
Mark A. Cheetham is Professor in the Department of the History of
Art at the University of Toronto and author of Abstract Art Against
Autonomy: Infection, Resistance, and Cure since the 60s. Penny
Cousineau-Levine is Professor of the History and Theory of Art at
the University of Ottawa and author of Faking Death: Canadian Art
Photography and the Canadian Imagination. Ola Wlusek is
Curator of Contemporary Art at The Ottawa Art Gallery.
[email protected]
Y & G #12 (curtain walls)
New monograph on award-winning artistic duo Young & Giroux known
for their intersecting readings of modernist architecture and
contemporary sculpture.
Diana Nemiroff and George Baird
Carleton University Art Gallery
The artistic practice of Daniel Young and Christian Giroux exists at
the intersection of art and architecture. From their respective
positions as art historian and architect they create sculptures,
installations and films that reflect upon the successes and failures
of the built environment. This publication brings together for the
first time three sculptures (Coaptation, Chagrin, and Eunoia) and a
film (Camera Tracking a Spiral Drawn Between the Two Curved
Towers of Viljo Revell’s Toronto City Hall). The common theme
throughout is the glass curtain wall. The film, which documents an
iconic example of Modernist architecture, provides the conceptual
starting point and the sculptures follow through with customized
acrylic and spider-clamp design conjoined with industrial racking
systems to create human-scale works that invite us to reflect on
the production of space in the urban environment. In his essay
George Baird explores the history, symbolism and continuing
importance of the glass curtain wall. Diana Nemiroff traces the
conversation between the languages and forms of art and
architecture in the work of the artists.
George Baird is an architect and architectural educator who has
taught at Harvard University and the University of Toronto. He was
awarded the 2012 AIA/ACSA Topaz Medallion for Excellence in
Architectural Education. Diana Nemiroff is an internationally
recognized curator and art historian. She has been Curator of
Contemporary Art at the National Gallery of Canada and Director
of Carleton University Art Gallery.
Y & G #12 (curtain walls)
Diana Nemiroff and George Baird
Carleton University Art Gallery
11.5 x 8 inches hardcover
9780770905750
$30.00 Can. $35.00 U.S.
April 2014
Daniel Young and Christian Giroux have exhibited at the Musée
d’art Contemporain de Montréal, Akademie der Kunst for the
Forum Expanded, Berlinale, the EXiS festival Seoul, South Korea,
the Museum Fur Kunst und Gewerbe, Hamburg, Germany, and
the Power Plant, Toronto. Young & Giroux won the 2011 Sobey Art
Award, Canada’s most prestigious art prize.
[email protected]
Somewheres
Voices in Longitude and Latitude
Pan Wendt and Aaron Weldon
Marnina Gonick and Noam Gonick
Confederation Centre Art Gallery
36 pp col. Ill. 10 x 6.5 in softcover
9780920089835
$9.95 Can. $11.95 U.S.
May 2014
MSVU Art Gallery
32 pp col. ill. 7.5 x 7.5 in softcover
9781894518703
$20.00 Can. $24.00 U.S.
June 2014
A survey of the work of thirteen emerging contemporary
artists living in the Maritimes and their engagement with
the question of region. The publication’s title reflects the
multiplicity and uncertain origin of the region’s identity,
defined as much by dreams and myths of escape as by
any inherent qualities. One of the most enduring tropes
about the creative process is the notion that the largest
gathering of people generates the most interaction, and
thus the greatest production of new ideas. Countering this
myth is the proposition that large centres often produce
homogeneity, and that incessant communication can even
lead to a kind of cultural sameness. It may be precisely the
very hindrance to communication - geography, distance,
isolation - that produce the new approaches that loom
large in the work featured here.
Publication accompanying a video installation about what it means
to be a girl in the 21st century. The aspirations of teen-aged girls
were recorded with individuals from communities across Canada:
Inuit in Kugluktuk, Nunavut; trans-gender in Halifax, Nova Scotia;
Jewish in Toronto, Ontario; and Congolese, Rwandan, Ethiopian
and Sudanese immigrants in Winnipeg, Manitoba. The girls, aged
13 to 23, appear in a 17-minute, four-screen projection. This
project represents the first collaboration between siblings Noam
Gonick, the renowned Winnipeg filmmaker, and Dr. Marnina
Gonick, Canada Research Chair in Gender at Mount Saint Vincent
University, Halifax. Sitting at the intersection of ethnography and
art, their joint work provides insight into the question of how audiovisual media can open new possibilities and ways of knowing in
social research. Noam Gonick is a Canadian filmmaker and artist.
His films include Hey, Happy!, Stryker, and Guy Maddin: Waiting
for Twilight. Marnina Gonick is the author of numerous books and
articles notably Between Femininities: Ambivalence, Identity and
the Education of Girls (SUNY Press, 2003).
[email protected]
Robert Beck Robert Buck
“His practice defies categorization and thwarts the usual mechanisms
for identifying an artist through a particular style, medium and even a
name.”
James Voorhies
Rennie Collection
In 2008, American artist Robert Beck changed his surname by a
single vowel to Buck. This act of artistic self-nomination was
precipitated by what he had achieved as Beck, an oeuvre often
autobiographical in content and persistently diverse in form.
Working in various mediums (drawing, sculpture, photography,
and video) the artist has returned repeatedly to the universal
themes of family, memory, identity, authorship, and loss. While his
own experiences are central, the artist deliberately withholds
information to solicit the viewer’s own unique associations. He has
described his work as a way to “create an index by which I could
make sense of earlier, often traumatic experiences so to transcend
them. Evidence of this riddles my work: bodies, holes,
camouflage, mimicry, memorials, erasure, guilt, corruption, sex,
and death.” Several works discussed herein are again relevant in
the wake of recent shootings in the United States, with the images
of teen shooters in Beck’s Thirteen Shooters, 2001 echoing Andy
Warhol’s 1964 mural Thirteen Most Wanted Men.
Robert Buck lives and works in New York City. His work has been
exhibited internationally, including a solo show at the Wexner
Museum of Art (2007), as well as in group exhibitions such as The
San Francisco Museum of Art’s “The Air We Breath” (2011).
Robert Beck Robert Buck
James Voorhies
Rennie Collection
11 x 8 inches hardcover 9780986596162 $25.00 Can. $30.00 U.S.
April 2014
James Voorhies is director of Bureau for Open Culture, an
itinerant curatorial initiative that receives support from museums,
universities and foundations to make projects in dialogue with
artists and writers.
[email protected]
Alison Norlen: Luna
Troy Gronsdahl, Shauna McCabe and Gilda Williams The Mendel Art Gallery
Alison Nolen’s intricate welded architectural installations
reconstitute monumental, 20th-century sites of leisure, fantasy and
cultural artifice, such as the Crystal Palace, Luna Park, Brighton
Pier, and Las Vegas. Sensational and fantastic spaces have
always inspired Norlen, from her early theme park sculptures and
pinball landscapes, to her series of drawn “Floats,” with their
tangled collisions of rural fairgrounds, roadside attractions, and
construction sites. Norlen’s more recent engagements on paper
feature monolithic structures like the Spanish fortress, Alhambra,
or obsolete industrial sites. Futuristic yet nostalgic, Nolan’s work
contains elements of the industrial and monumental yet manages
to be neither robust nor invincible, remaining instead ephemeral
and vulnerable. No matter the material or format, the artist
explores the effects of time and the persistence of memory within
an intricate and layered narrative landscape. Alison Norlen has exhibited in solo and group shows throughout
the country at, notably, School of Architecture University of
Manitoba, Simon Fraser University, Harbourfront Centre, and the
National Gallery of Canada.
Troy Gronsdahl maintains an interdisciplinary art practice,
producing music under the moniker, soso, and exhibiting visual
art. Shauna McCabe is the Executive Director of the Textile
Museum of Canada. Gilda Williams is a lecturer in the Art
Department at Goldsmiths College, London, and correspondent
for Artforum magazine.
Alison Norlen: Luna
Troy Gronsdahl et al
10 x 8 inches softcover 9781896359823 $20.00 Can. $24.00 U.S.
April 2014
[email protected]
Shinsuke Minegishi: Fragility
Saskia Jetten
Shinsuke Minegishi
Jennifer Cane
Burnaby Art Gallery
58 pp 32 ill (20 col. ) 9 x 5.75 in softcover
9781927364079
$10.95 Can. $14.95 U.S
May 2014
Burnaby Art Gallery
16 pp 10 col. ill. 9 x 5.75 in softcover
9781927364093
$5.00 Can. $6.00 U.S
May 2014
Shinsuke Minegishi is an artist-printmaker who excels in
the process of creating wood engravings and original
bookworks that weave personal and collective narratives
with subtle, unique, complimentary and imaginative
imagery. This publication documents, in both words and
images, the artist’s personal reaction to the 2011 Japanese
tsunami. A new series of works features a combination of
techniques including watercolour, silkscreen and linocut
and reflects upon the impact of such disasters on one’s
own sense of being in the world. Born in Japan and
educated in both Japanese and Canadian universities,
Shinsuke Minegishi’s works can be found in National Bank
of Canada and Sakima Art Museum. Text in both English
Saskia Jetten, a contemporary Dutch printmaker who h as
recently immigrated to Canada, works in a wide variety of
media including graphite, woodcut, and stone lithography, as
well as materials such as silks and ceramics. Her work touches
on themes related to theatre, identity, and inter-personal
relationships. Continually pushing the boundaries of
printmaking, Jetten has exhibited widely in both Europe and
Canada, and has received numerous prizes, most notably the
‘Grafiek Nu 10’ Dutch Printmaking Award. In 2012 she was the
recipient of the Alain Piroir Studio Residency Prize in Montreal,
Quebec, as well as the International Contemporary Print
Biennale in Trois Rivieres, Quebec. and Japanese.
.
[email protected]
Herstory: Art by Women in The
University of Winnipeg Collection
Fire / Fire
Laura White & Jennifer Gibson
Andrea Pinhero, Joni Murphy, Makiki Hara
and Randy Lee Cutler
Gallery 1C03, University of Winnipeg
48 pages 20 colour illustrations 10 x 8 inches softcover
9780992118709
$15.00 Can. $18.00 US
March 2014
Malaspina Printmakers
54 pp col. ill. &.5 x 5 in softcover
9780969299868
$12.00 Can. $15.00 U.S.
June 2014
Catalogue of a group exhibition of contemporary and
historical art from The University of Winnipeg’s collection
by Manitoba women artists. Featured artists include
Eleanor Bond, Sheila Butler, Caroline Dukes, Aganetha
Dyck, G. N. Louise Jonasson, Wanda Koop, Rosemary
Kowalsky, Alison Newton, Daphne Odjig, Dominique Rey,
Sheila Spence, Eva Stubbs and Diana Thorneycroft,
among others. Herstory highlights the themes and subjects
these artists have examined in their work, from portraiture
and the body to landscapes and narratives. It also
considers how “the feminine” and feminist notions (if any)
have been approached and interpreted by these artists.
White’s essay also provides some context for the Manitoba
art scene over the last century and how this history is
connected to the work of the artists included.
Publication accompanying a multimedia installation by Abbas
Akhavan and Marina Roy. The title refers to several fires: the
Great Fire of Meireki which destroyed more than half of the
Japanese capital city of Edo; the Great Vancouver Fire which
razed most of the newly incorporated city; and more recently
the building fires that expel artists from their studios, paving
the way for real estate development. Abbas Akhavan was born
in Tehran, and currently lives and works in Toronto. His
practice ranges from site-specific ephemeral installations to
drawing, video and performance. Cross-disciplinary in scope,
Marins Roy’s art practice investigates the intersection between
materials, language, history, and ideology.
[email protected]

Fall 2014 - The Bob Rosenberg Group

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