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Focusing: Drawings by Carol Hoorn Fraser
Carol Hoorn Fraser, MFA, RCA (1930-1991) was a beautiful and unique American-born artist, who received a humanistic art education at the University of Minnesota, took first prizes in shows at the Walker Art Center and the Minneapolis Institute of Art, and lived for thirty years in Nova Scotia with her husband John, with stays in Provence and Mexico. Like Sinatra, she did it her way, radically rethinking her popular expressionist style in the mid-Sixties and developing a decisive organicist iconography in oils that was all her own. Subsequently, when asthma became a problem, she embarked on a brilliant series of watercolours, returning to oils shortly before her death. Her earlier drawings, o...
Nihilism, Modernism, and Value
Nihilism, Modernism, and Value consists of three jargon-free lectures addressed to the general reader. It explores a variety of ways in which writers responded to the phenomenon of nihilism in the 19th and early 20th centuries, By "nihilism" here is meant a sense, at times paralyzing, of the instability and perhaps groundlessness of all values. The book goes into some of the factors— psychological, sociological, philosophical—involved in that destabilizing. But its principal focus is on reintegration, and it draws freely on real-world experiences to illuminate concepts and strategies. Among the writers whose names figure in it are Conrad, Nietzsche, Beckett, Woolf, Heidegger, Rhys, Pushk...
Gardens of Delight and Power
Carol Hoorn Fraser, MFA, RCA (1930-1991) was a beautiful and unique American-born artist, who received a humanistic art education at the University of Minnesota, took first prizes in shows at the Walker Art Center and the Minneapolis Institute of Art, and lived for thirty years in Nova Scotia with her husband John, with stays in Provence and Mexico. Like Sinatra, she did it her way, radically rethinking her popular expressionist style in the mid-Sixties and developing a decisive organicist iconography in oils that was all her own. Subsequently, when asthma became a problem, she embarked on a brilliant series of watercolours, returning to oils shortly before her death. Gardens of Delight and ...
Political Thought in Canada
What, if anything, makes Canada's political identity unique? Pollsters can measure values, but they cannot explain how these values arose over time, why they changed, or how people have attempted to make sense of them within a changing social and political environment. By examining the history of political ideas in Canada, we can better understand why Canada takes the shape that it does. In this book, Katherine Fierlbeck looks at the legacy of ideas taken from (or shaped in reaction to) the nations that have been most influential to Canada's development: the United Kingdom and the United States. The first section looks specifically at the nature of toryism, constitutional liberalism, and mar...
Camera Work (Revised Edition)
A major revision, the merely documentary gone, the symbolist-poetic intensified. Past and present, nature raw and cooked, imagistic juxtapositions, sunlit urn with cypresses, flames glowing as the ground thaws for a midwinter Minnesota grave. Enigmatic mannequin, pensive boys, racing girls, sentinel in the sky. You don’t need specific locations. This is all about possibilities, emblems, icons, moods, never settling down into a single mode, a single statement. Everything is in motion or with motion latent. The lyrical calms of sunset grass and pristine pebbled beach are sites for couples. not death-wish yearnings. There’s a lovely wedding kiss. The cover’s key-setting figure with bike at that dreamlike empty intersection has the potency that comes when the eye has fastened on something without the mind fully knowing why. Escapes from “the malady of the quotidian.” Lyrical/dramatic compositions. By the author of “Atget and the City.”
Dwellings
Carol Hoorn Fraser, MFA, RCA (1930-1991) was a beautiful and unique American-born artist, who received a humanistic art education at the University of Minnesota, took first prizes in shows at the Walker Art Center and the Minneapolis Institute of Art, and lived for thirty years in Nova Scotia with her husband John, with stays in Provence and Mexico. Like Sinatra, she did it her way, radically rethinking her popular expressionist style in the mid-Sixties and developing a decisive organicist iconography in oils that was all her own. Subsequently, when asthma became a problem, she embarked on a brilliant series of watercolours, returning to oils shortly before her death. In Tepoztlán in 1981 s...
Interfacing
Faces faces faces—thirty-four, if you count a delightful movie-crew group. Fascinating faces, those major elements in movies, photography, art. Mostly one-shots, taken spontaneously in a human-scale North Atlantic city-by-the-sea in the 1990s. No predatory irony or condescension, but strong reactions— surprise, wariness, delight, self-theatricalizing, etc. Interesting individuals, including a couple of poets, two photographers, an artist, a movie-maker, a scholar, a peace activist, a short-story writer, and the vastly knowledgeable proprietor of a jazz and blues used-record store. But no, not about bio. About selves, including the photographer’s, at the moment of interfacing, in various settings, with decisive compositions and rich pre-digital B&W. All done with the lovely lightweight Canon EOS Rebel with the classic 50mm lens and available lighting. And organized with Fraser’s unique musical sequencing of distinctive units.
Moments
With 50mm lenses and available light, John Fraser took these classic humanist photos in Minneapolis, New York, London, Nova Scotia, Provence, starting in 1957. In the tradition of Cartier-Bresson, there's no cropping. What you see is what was there—street interactions caught lightning fast, informal portraits, oldsters, kids, a Blues group, a campaigning JFK within arms-length, and always the impeccable composition and feel for the symbolic. The images are arranged in poem-like sequences—moody Shadows, lyrical Sun, symbolic Erotics, the old and new London in eight Postcards. The Republicans at a little street rally look like type-casting. But there's no programmatic irony, and the pervasive tone of the book is enjoyment. These are works that don't date.
A Bit of This and a Bit of That About Poetry
A reviewer of JOHN FRASER'S widely praised Violence in the Arts (1973) spoke of encountering in it "an extremely agile and incessantly active mind that illuminates almost every subject that he touches." As a reader of poetry he is in search of felt life and expressive form. He feels his way forward through poems as speech acts, rather than latching onto whatever Big Poetic Truths they are presumed to be disclosing, or treating them as raw material to be given significance by Theory. And he enters them from a variety of directions. The components of A Bit of This and a Bit of That about Poetry include: —A fast, funny bit of intellectual autobiography. —A tracing of the stylistic changes b...
