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The book ranges widely through frontier myth, American foreign policy, technology, war, film history, psychoanalytic theory (Nicholas Abraham and Maria Torok's cryptonymy), and philosophy (Jacques Derrida and Emmanuel Levinas), as it weaves art analysis into the troubled history of a social artifact. As Blake tells his story purely through images issuing as haunting from the architecture of Winchester house, Spirit Hunter pursues its speculation on the secrets Sarah Winchester shielded through her fabled mansion into the image itself to question whether she was hostage to her haunting or to national myth.
At once a personal narrative and an encyclopedic gathering of material, Dutch artist Mark Manders' "Self-Portrait" began its life as a building in 1986. Since then, Manders has exhibited fragments of the project, an array of created and found objects, furniture, sculpture and drawings, keeping it in constant flux, changing its order with each showing.
By the time Will Munro died in 2010 at the age of thirty-five, he was already a legend in Toronto. He was known principally for his dance clubs, especially Vaseline, later renamed Vazaleen, which began in 2000. But to the art community, Will Munro was always an artist, and all his activities stemmed from being so. “Will Munro: History, Glamour, Magic” fully documents his activities as an artist with emphasis on his exhibitions and artworks from 1998 on. Munro brought a queer punk DIY aesthetic to his artwork, which could never be separated from his music interests. His role as a DJ and promoter is represented here by a generous selection of posters promoting his music venues. This book is a fitting tribute to Munro as a vibrant artist, community builder, and queer pedagogue.00Exhibition: Art Gallery York University, Toronto, Canada (11.1.-11.3.2014).
Rich colours and arresting designs capture the mood of celebration and joy that characterizes this photographic record of contemporary religious works of art. Chosen for their excellence in design and stitchery, these works represent the achievements of artists who have created art, in fabric, for places of worship. This book celebrates this important artistic expression, a significant part of our heritage. Pieces are selected from communities across Canada: from a small parish on a Micmac reserve in Nova Scotia to a large urban synagogue in Vancouver; from the igloo-shaped cathedral in Iqaluit to a suburban church nestled beside a wildlife march in southwestern Ontario.
In the tradition of the distinguished Douglas & McIntyre art program, this lavishly illustrated and superbly printed book is a rich, readable history of abstract painting in Canada. The story begins in the 1920s with the sometimes eccentric but remarkable work, rooted in symbolism and theosophy, of pioneers such as Kathleen Munn, Bertram Brooker and Lawren Harris. Two decades later the Automatistes-Canada's first truly independent avant-garde art movement-burst onto the scene in Montreal. After the Second World War, the urge to abstraction spread across Canada, manifesting itself in significant regional movements. Vancouver painters retained a British flavour, while in Toronto, the Painters ...
Ten women artists, counterparts of the Group of Seven, are finally being given their due. Long overlooked by critics and historians, they are today amongst the most sought after Canadian painters. The Beaver Hall women ventured into a male-dominated art world, lived remarkable lives, and produced exceptional work. The Women of Beaver Hall portrays the lives and works of Nora Collyer, Emily Coonan, Prudence Heward, Mabel Lockerby, Henrietta Mabel May, Kathleen Moir Morris, Lilias Torrance Newton, Sarah Robertson, Anne Savage, and Ethel Seath. Long-lost catalogues, old newspaper reviews, and personal papers document their story, and more than 65 colour plates bring to light their paintings, some of which have lain hidden for more than fifty years. With a clear and concise style directed to the aficionado and scholar alike, this book is the ultimate reference on the Beaver Hall women.
Since 2009, Iris Haussler has produced the complete oeuvre of unknown and fictitious French painter Sophie La Rosiere, who died in 1948. Furthermore, she has created an artistic persona--a heteronym--through which to channel this invented artist's secrets. In this wonderful fictional account of an artist's life, Haussler fabricates a biography for La Rosiere as well as an elaborate back story of a hidden erotic liaison that intersects with real people, historical events and actual artistic movements. This project includes the recreation of La Rosiere's life circumstances, studio, its products and detritus, and the elements of a forensic investigation that tries to answer the questions, after...
Joan Murray discusses social and political events in combination with the movements, ideas, attitudes, styles, and important groups in Canadian art of this century.
In 1953 eleven Canadian Abstract Expressionist artists banded together to break through the barricades of traditional art at a time when landscapes were about the only paintings collectors were buying. Hungry for recognition, raging against the art establishment that was shutting them out, they decided to form a collective, expecting they would gain more attention as a group than as solo artists. In 1954, The Painters Eleven--Jack Bush, Oscar Cahén, Hortense Gordon, Tom Hodgson, Alexandra Luke, Jock Macdonald, Ray Mead, Kazuo Nakamura, William Ronald, Harold Town and Walter Yarwood--held their first exhibition in Toronto. Initially the public response echoed the worldwide sentiments toward ...