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Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
[Carr – Bibliography]
Bibliography Steven C. McNeil, with contributions by Lynn Brockington Abell, Walter, “Some Canadian Moderns,” Magazine of Art 30, no. 7 (July 1937): 422–27. Abell, Walter, “New Books on Art Reviewed by the Editors, Klee Wyck by Emily Carr,” Maritime Art 2, no. 4 (Apr.–May 1942): 137. Abell, Walter, “Canadian Aspirations in Painting,” Culture 33, no. 2 (June 1942): 172–82. Abell, Walter, “East Is West – Thoughts on the Unity and Meaning of Contemporary Art,” Canadian Art 11, no. 2 (Winter 1954): 44–51, 73. Ackerman, Marianne, “Unexpurgated Emily,” Globe and Mail (Toronto), 16 Aug. 2003. Adams, James, “Emily Carr Painting Is Sold for $240,000,” Globe and Mail (Toronto), 28 Nov. 2003. Adams, John, “…but Near Carr’s House Is Easy Street,” Islander, supplement to the Times- Colonist (Victoria), 7 June 1992. Adams, John, “Emily Walked Familiar Routes,” Islander, supplement to the Times-Colonist (Victoria), 26 Oct. 1993. Adams, John, “Visions of Sugar Plums,” Times-Colonist (Victoria), 10 Dec. 1995. Adams, Sharon, “Memories of Emily, an Embittered Artist,” Edmonton Journal, 27 July 1973. Adams, Timothy Dow, “‘Painting Above Paint’: Telling Li(v)es in Emily Carr’s Literary Self- Portraits,” Journal of Canadian Studies 27, no. 2 (Summer 1992): 37–48. Adeney, Jeanne, “The Galleries in January,” Canadian Bookman 10, no. 1 (Jan. 1928): 5–7. Art Gallery of Greater Victoria, Oil Paintings from the Emily Carr Trust Collection (ex. cat.). Victoria: Art Gallery of Greater Victoria, 1958. Art Gallery of Ontario, Emily Carr: Selected Works from the Collection of the Vancouver Art Gallery (ex. cat.). Toronto: Art Gallery of Ontario, 1974. -
Post-War & Contemporary
post-wAr & contemporAry Art Sale Wednesday, november 21, 2018 · 4 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, November 21, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Calgary 888 4th Avenue SW, Unit 609 Friday, October 19 through Saturday, October 20, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 27 through Tuesday, October 30, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, November 8 through Saturday, November 10, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, November 17 through Tuesday, November 20, 10 am to 6 pm Wednesday, November 21, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-8884 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. -
The National Gallery of Canada: a Hundred Years of Exhibitions: List and Index
Document generated on 09/28/2021 7:08 p.m. RACAR : Revue d'art canadienne Canadian Art Review The National Gallery of Canada: A Hundred Years of Exhibitions List and Index Garry Mainprize Volume 11, Number 1-2, 1984 URI: https://id.erudit.org/iderudit/1074332ar DOI: https://doi.org/10.7202/1074332ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Mainprize, G. (1984). The National Gallery of Canada: A Hundred Years of Exhibitions: List and Index. RACAR : Revue d'art canadienne / Canadian Art Review, 11(1-2), 3–78. https://doi.org/10.7202/1074332ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ The National Gallery of Canada: A Hundred Years of Exhibitions — List and Index — GARRY MAINPRIZE Ottawa The National Gallerv of Canada can date its February 1916, the Gallery was forced to vacate foundation to the opening of the first exhibition of the muséum to make room for the parliamentary the Canadian Academy of Arts at the Clarendon legislators. -
Painted Past: a History of Canadian Painting from the Collection
Painted Past: A History of Canadian Painting from the Collection Paul Peel Reading the Future, 1883 oil on canvas Collection of the Vancouver Art Gallery Gift of Mr. F. M. Southam TEACHER’S STUDY GUIDE FALL 2014 1 Contents Page Program Information and Goals ................................................................................................................. 3 Background to the Exhibition Painted Past ............................................................................................... 4 Artists’ Background ..................................................................................................................................... 6 Pre- and Post-Visit Activities 1. About the Artists ..................................................................................................................... 10 Artist Information Sheet ........................................................................................................ 11 Student Worksheet ................................................................................................................ 13 2. Working in the Open Air ......................................................................................................... 14 3. Partner Portraits ..................................................................................................................... 16 4. Idealized Landscapes............................................................................................................. 18 Vocabulary ................................................................................................................................................ -
Doris Shadbolt
DORIS SHADBOLT An inventory to her fonds in the University of British Columbia Library Rare Books and Special Collections Prepared by: Donna Waye 2003 Inventory to the 1st addition prepared by: Cobi Falconer April, 2008 Table of Contents 1) Fonds title, biographical sketch, scope and content (p. 3 – 4) 2) Series List a) Worksheets (Chronological) (p. 5) i) Sub-series List ii) “Early Canadian and Early French Work” (p. 5) (1) “Early Canadian” (p. 6) (2) “French” (p. 6) (3) “French and French in Canada (not Indian)” (p. 6) iii) “Indian – 1912” (p. 7) (1) Sub-sub series List (2) “1898 Ucleulet” (p. 7) (3) “c. 1905-1908” (p. 7-8) (4) “Indian pre-1912” (p. 8) (5) “Indian 1912” (p. 8) (6) “Tsimsian” (p. 9) (7) “Kwakiutl” (p. 9) (8) “Alert Bay” (p. 9-10) iv) “Indian 1912” (p. 10) (1) “1912 continued” (p. 10) (2) “Oil and Indian 1912-13” (p. 10-11) (3) “Indian Portraits” (p. 11) (4) “1928 Portraits” (p. 11-12) (5) “1927-28-29 Watercolours” (p. 12) (6) “Drawings of Photos” (p. 12) (7) “Oils” (p. 12-13) (8) “Late Indian” (p. 13) v) “Indian to Nature to O/P” (p. 13) (1) “Indian – Nature” (p. 14) (2) “Charcoal, Dry Brush, Oil/Card, transition” (p. 14) (3) “Oil/Paper, Early” (p. 14-15) (4) “VAG – Vancouver Art Gallery” (p. 15) (5) “Museum Drawings Probably 1920s – Newcombe” (p. 15) (6) “Divider I – 1989-1910; a. 1889 - ; b. 1898 - ; c. 1904 – “ (p. 16) (7) “18-1908” (p. 16) (8) “1880 – 1888” (p. 16-17) (9) “Odds” (p. -
Proquest Dissertations
Atlantic Canadian Representation in the National Gallery of Canada's Biennial Exhibitions of Canadian Art (1953-1968) by Suzanne A. Crowdis, BFA (Concordia University, 2004) School for Studies in Art and Culture, Department of Art History A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Art History Carleton University OTTAWA, Ontario © 2010, Suzanne A. Crowdis Library and Archives Bibliothgque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'gdition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-71604-5 Our file Notre reference ISBN: 978-0-494-71604-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Two Visions: Emily Carr & Jack Shadbolt
Two Visions: Emily Carr & Jack Shadbolt Emily Carr Skidegate Beaver Pole, 1941-2 oil on canvas Vancouver Art Gallery Jack Shadbolt Hornby Suite,1969 charcoal on paper Vancouver Art Gallery TEACHER’S STUDY GUIDE Fall 2009 1 Contents Page Program Information and Goals ................................................................................................................. 3 Background to the Exhibition Two Visions: Emily Carr & Jack Shadbolt.................................................. 4 Artists’ Background ..................................................................................................................................... 5 Pre- and Post- Visit Activities 1. Lives of the Artists.................................................................................................................... 7 Artist Information Sheet .......................................................................................................... 9 Student Worksheet................................................................................................................ 10 2. Inside Outside Art................................................................................................................... 11 3. Messing with Colour............................................................................................................... 13 4. Abstracted Objects................................................................................................................. 15 Vocabulary ................................................................................................................................................ -
Decolonizing the Story of Art in Canada: a Storied Approach to Art for an Intercultural, More-Than-Human World
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2014-08-15 Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World Patenaude, Troy Robert Charles Patenaude, T. R. (2014). Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/25532 http://hdl.handle.net/11023/1684 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Decolonizing the Story of Art in Canada: A Storied Approach to Art for an Intercultural, More-Than-Human World by Troy Patenaude A THESIS SUBMITTED TO THE FACULTY OF ARTS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF COMMUNICATION AND CULTURE CALGARY, ALBERTA AUGUST, 2014 © Troy Patenaude 2014 ii Abstract The master narrative dominating the field of Canadian art history has continually privileged Eurocentric, colonialist ways of knowing. Many art historians and critics have called for a new story, but nothing to date has been proposed. This dissertation marks the first attempt at re-envisioning the story of art in Canada. -
Preview – the Gallery Guide – April-May 2007
CALENDAR OF OPENINGS - PG 79 GALLERY INDEX - PG 75 THE GALLERY GUIDE ALBERTA ■ BRITISH COLUMBIA ■ OREGON ■ WASHINGTON PHOTO: COURTESY THE ARTIST, PARIS, AND THE WALKER ART CENTER ART AND THE WALKER PARIS, THE ARTIST, PHOTO: COURTESY April/May 2007 www.preview-art.com DAVID A. HAUGHTON kindertotentanz Encephalocele II, Kindertotentanz Series VI, acrylic on board MAY 3 – 17, 2007 THE ART CENTER 2060 Pine Street, Vancouver BC V6J 4P8 phone 604-731-5412 • [email protected] • Tues-Sat 11-5 View images at www.haughton-art.ca FORT ST. JOHN BRITISH ALBERTA COLUMBIA DAWSON CREEK PRINCE GEORGE EDMONTON QUEEN CHARLOTTE ISLANDS WEST NORTH DEEP COVE MCBRIDE VANCOUVER WELLS VANCOUVER BURNABY PORT MOODY NEW WESTMINSTER COQUITLAM VANCOUVER MISSION RICHMOND SURREY MAPLE RIDGE CHILLIWACK DELTA FORT LANGLEY ABBOTSFORD TSAWWASSEN WHITE ROCK WILLIAMS LAKE PRINCE RUPERT 100 MILE HOUSE CALGARY SALMON ARM BANFF SILVER STAR MOUNTAIN KAMLOOPS VERNON CAMPBELL RIVER KASLO WHISTLER KELOWNA COURTENAY COMOX MEDICINE HAT UNION BAY SUMMERLAND NELSON LETHBRIDGE SUNSHINE COAST VANCOUVER, BC PENTICTON CASTLEGAR PARKSVILLE OSOYOOS OLIVER TOFINO NANAIMO CHILLIWACK GRAND FORKS GULF ISLANDS OROVILLE DUNCAN BELLINGHAM SHAWNIGAN LAKE EASTSOUND SAANICH/SIDNEY ORCAS ISLAND LAKE COWICHAN LA CONNER SOOKE EVERETT VICTORIA FRIDAY HARBOR, SAN JUAN ISLAND PORT LANGLEY MONROE ANGELES KIRKLAND SPOKANE SEATTLE BELLEVUE TACOMA OLYMPIA WASHINGTON ASTORIA SEASIDE LONGVIEW CANNON BEACH GOLDENDALE PORTLAND MCMINVILLE SHERIDAN SALEM PACIFIC CITY OREGON EUGENE ASHLAND 6 PREVIEW COVER: Huang Yong -
Emily Carr, the Modern Woman Artist and Dilemmas of Gender Gerta Moray
Document generated on 09/25/2021 2:14 a.m. RACAR : Revue d'art canadienne Canadian Art Review “T’Other Emily:” Emily Carr, the Modern Woman Artist and Dilemmas of Gender Gerta Moray Postures et impostures de l’artiste moderne Article abstract Myths of the Modern Artist: Exposing the Pose La carrière d’Émily Carr, tout comme les thèmes artistiques qu’elle choisit de Volume 26, Number 1-2, 1999 développer, étaient pour le moins inusuels chez une femme artiste du début du 20e siècle. Comme nous le savons, elle rejeta les principes de la trop convenable URI: https://id.erudit.org/iderudit/1071551ar peinture féminine qui se faisait à Paris à l’époque et qu’endossaient ses DOI: https://doi.org/10.7202/1071551ar contemporaines en Colombie-Britannique, pour se lancer dans les techniques novatrices du Fauvisme, ainsi que dans un ambitieux projet de catalogage des villages aborigènes isolés au fin fond de la Côte Ouest et de leurs totems. Cet See table of contents article se penche sur l’évidence présente dans la peinture de Carr et dans ses écrits inspirés de sa vie marquée de confrontations et de tensions, conséquence de son refus de se plier à la condition féminine de son temps. En raison des Publisher(s) rapports problématiques que Carr entretint très tôt avec les hommes, ses attitudes prirent modèle sur le « complexe de masculinité » tel que décrit par UAAC-AAUC (University Art Association of Canada | Association d'art des Karen Horney. En raison de son style avant-gardiste, sa peinture fut étiquetée universités du Canada) de « virile », malgré le fait que, pour compenser son rejet du rôle féminin trop répressif, elle privilégia l’imagerie célébrant le côté maternel des ISSN amérindiennes, ainsi que les forces péremptoires de Dzonokwa, figure 0315-9906 (print) féminine légendaire du peuple Kwakwaka’wakw. -
Shadbolt, Jack
JACK SHADBOLT, 1909 – An Inventory of his Papers, 1929-1990 in The Library of the University of British Columbia Rare Books and Special Collections Prepared by: Jane Turner, July 1990 Assisted by Stephanie Bolster and Jeannie Cockroft First accession: Beth Pitblado, June 1991 Second accession: Cobi Falconer, April 2008 Table of Contents I. Fonds Description ..................................................................................................P. 1 II. Introduction............................................................................................................P. 2 III. Biographical Sketch...............................................................................................P. 3 IV. Scope and Content ................................................................................................ P. 6 V. Series List................................................................................................................P. 7 VI. Series Description............................................................................................. P. 8-38 VII. Introduction: First Accession..............................................................................P. 40 VIII. Introduction: Addition to First Accession.........................................................P. 61 IX. Appendix: Index to Names .................................................................................P. 64 Index to Works of Art..........................................................................................P. 68 X. Introduction: