DOCSLIB.ORG

PRAIRIE FORUM Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PRAIRIE FORUM Vol PRAIRIE FORUM Vol. 26, No. 1 Spring 2001 CONTENTS Editor's Note Patrick C. Douaud 111 ARTICLES Art, Culture, Regionalism and the Representational Populist Ressentiment ofWilliam Kurelek Andrew Molloy 1 "Awful Splendour": Historical Accounts ofPrairie Fire in Southern Manitoba Prior to 1870 WE Rannie 17 The SheppardJournals: Gender Division of Labour on a Southern Alberta Ranch Shirley Musekamp 47 Grazing the Grasslands: Exploring Conflicts, Relationships and Futures Simon M. Evans 67 Farmers and "Orderly Marketing": The Making of the Canadian Wheat Board RobertIrwin 85 Motivational and Attitudinal Correlates of Female and Male Farm Operators' Off-Farm Employment in Agro-Manitoba Kenneth C. Bessant and Erasmus D. Monu 107 FORUM Jon Gjerde's Minds ofthe Westand Canadian Prairie History: A Round Table Discussion 119 BOOK REVIEW SCHMITZ, Andrew and FURTAN, Hartley, The Canadian Wheat Board: Marketing in the New Millennium by Murray R. Bryck 135 INDEX 139 CONTRIBUTORS 143 PRAIRIE FORUM: Journal of the Canadian Plains Research Center Chief Editor: Patrick Douaud, Education, Regina Editorial Board: I. Adam, English, Calgary D. Gauthier, CPRC, Regina P. Ghorayshi, Sociology, Winnipeg S.Jackel, Canadian Studies, Alberta M. Kinnear, History, Manitoba W. Last, Earth Sciences, Winnipeg A. Leger-Anderson, History, Regina P. McCormack, Native Studies, Alberta A. Mills, Political Science, Winnipeg F. Pannekoek, Alberta Culture and Multiculturalism, Edmonton D. Payment, Parks Canada, Winnipeg T. Robinson, Religious Studies, Lethbridge L. Vandervort, Law, Saskatchewan J. Welsted, Geography, Brandon B. Wilkinson, Economics, Alberta Copy Editor: Brian Mlazgar, CPRC, Regina Book Review Editor: Wendee Kubik, CPRC, Regina PRAIRIE FORUM is published twice yearly, in Spring and Fall, at an annual sub­ scription rate of $23.00 for individuals and $28.00 for institutions. In addition, 7% GST must be added to all Canadian orders. Out-of-Canada orders, please make pay­ ment in Canadian funds and add $5.00 for postage and handling. All subscriptions, correspondence and contributions should be sent to: The Editor, Prairie Forum, Canadian Plains Research Center, University of Regina, Regina, Saskatchewan, Canada, S4S OA2. PRAIRIE FORUM is not responsible for statements, either offact or opinion, made by contributors. © 2001 CANADIAN PLAINS RESEARCH CENTER ISSN 0317-6282 EDITOR'S NOTE The present issue ofPrairieForum is introduced by an essay on William Kurelek, in which Andrew Molloy explores the tensions between regionalism and national­ ism as he sees them expressed in the intensely emotional grass-roots work of that artist. There follows a description of the nineteenth-century "Grass Fire Era" in southern Manitoba, which W.F. Rannie interprets as a consequence of the fur trade, of encroaching agriculture, and of travellers' carelessness. Shirley Musekamp has put together significant excerpts from journals pertain­ ing to the Sheppard ranch in Alberta, as well as associated photographs, in an effort to demythologize the early days of ranching by relying on individual accounts and by highlighting the circumstances of everyday labour. The remaining three articles deal with farming exclusively. Simon Evans gives us an analysis of the contemporary ranching situation, characterized by a rapid change due to socio-economic evolution, increased urban encroachment, and shifting perceptions. Robert Irwin then addresses the controversy surrounding the Canadian Wheat Board by delving into its origins and by examining the structures involved in the grain trade as they have related to farmers' interests. Finally, K Bessant and E. Monu give us a detailed analysis of the attitudes and motivations which set apart men and women looking for off-farm employment in agricultural Manitoba. We also have a Forum. Edited by Royden Loewen, this is an account ofa round­ table discussion held at the May 2000 annual meeting of the Canadian Historical Association in Edmonton. The discussants critiquedJon Cjerde's 1997 book Minds of the West: Ethnocultural Evolution in the Rural Middle West, 1830-1917, in terms of the applicability of its American content to the Canadian context; the author pro­ vided a response which concludes this Forum. Patrick C. Douaud Editor-in-Chief University of Regina Art, Culture, Regionalism and the Representational Populist Ressentiment of William Kurelek Andrew Molloy "In the end, the art ofthe past is being mystified because a privileged minority is striving to invent a history which can retrospectively justify the role ofthe ruling classes, and such a justification can no longer make sense in modern terms. And so, inevitably, it mystifies." John Berger, Ways ofSeeing (1972) ABSTRACT. This article explores the cultural, artistic and political treatment of a transitional western Canadian artist within the larger context of the centralizing tendencies ofan "eastern-dominated" fed­ eral state. In the process, various theories of art and society are explored in order to sharpen under­ standing of the "popular culture order of things" that dominates much ofWestern society today. SOMMAIRE. Le present article explore le traitement culturel, artistique et politique d'un artiste de tran­ sition dans l'ouest du Canada, dans le contexte plus general des tendancescentralisantes d'un etat federal dont l'autorite penche al'est. On y passe en revue diverses theories de l'art et de la societe dans le but de mieux faire comprendre la culture populaire qui domine la societe occidentale contemporaine. This article focuses upon many aspects ofwhatwe commonly refer to as culture. My objective is to marry the federal government's attempt to create a national artis­ tic culture in Canada, through cultural agencies such as the Canada Council, with the profound sense of regional artistic consciousness found in the West as repre­ sented by the formative work ofWilliam Kurelek. Kurelek's work represents a cele­ bration of the ressentiment of a region which operates at the margins of the Canadian state - economically, politically and even artistically. The term ressenti­ ment is used by Nietzsche to describe a spirit of revenge, a drive that festers in the weak who seek vengeance against the strong and the privileged. It can also be used to denote a reactionary state in which "the mass," unable to create values for itself, merely reverses the values of the "higher types." Both forms of ressentiment are pres­ ent in western populist discourse and have helped to create political, social and economic projects as well as a regional "false consciousness." Marx argued that "false consciousness" grew out of a particular mode of pro­ duction associated with the base structure ofsociety. In any economic system, those who control the modes of production will be the movers and shakers of the socie­ ty; their thinking, values and perspectives will be dominant. All social and cultural forms of expression such as art will develop as a product of the dominant mode of production. The maintenance ofany system is also dependent on the existence of an ideology that functions to prevent these dispossessed of any economic system from seeing their real relationship to power structures. Ideology produces a "false consciousness" of oneself and one's relationship to history, and works best when it is not detected. When the centralizing tendencies of state ideology break down, however, as a result of cyclical regional economic conditions, political ressentiment can develop. Cultural-political ressentiment can thus become the basis for a concept of regional cultural studies as a strategy of resistance to the ideological hegemony of the national state. This article represents one such exploration. The Uses of Culture It is a truism to say that one can no longer speak ofa distinction between high and low culture. This is to the good. Culture has opened up from the intellectual scratching ofPlato's cave to the nearestvideo mansion. The traditional class nature ofculture which often glorified the social system and its priorities has been exploit­ ed over a period of time so class authority is not as overt as it once was. From the food we eat through the clothes we wear to our physical environment, everything is proper grist for the mill. We live the multi-ethnic experience at the most super­ ficial (sophisticated?) level because of the crossculturallevels of daily interaction and commodification in our society. That old standby, class authority, can no longer speak of universal rationality, intelligence or truth because it is seen to be a product of nineteenth-century history. The feminist movement goes even further in arguing that the traditional notions ofrationality and truth are themselves oppressive devices. We cannot agree any more on how to communicate because rationality, truth and intelligence are the necessary standards by which we communicate; they are built into the nature ofwhat it is to speak and think. If you think and speak at all, you are already in a situation where the canons ofrationality, truth and intelligence apply; but these do not themselves substitute for a particular dogmatic theology. This is what makes current discussions of culture so fascinating. After all, the era in which we live is supposedly post-historical, post-modern and post-contemporary. And what we are all "post" is rationality and intelligence. The idea is that reason has subverted itself. It was all a massive self-deception to think that we could discover the truth about the real world; rather, there are just sub-
Load more

Recommended publications
  • Senior 1 Art. Interim Guide. INSTITUTION Manitoba Dept
    DOCUMENT RESUME ED 375 054 SO 024 441 AUTHOR Hartley, Michael, Ed. TITLE Senior 1 Art. Interim Guide. INSTITUTION Manitoba Dept. of Education and Training, Winnipeg. REPORT NO ISBN-0-7711-1162-2 PUB DATE 93 NOTE 201p.; Photographs might not produce well. AVAILABLE FROMManitoba Dept. of Education and Training, Winnipeg, Manitoba, Canada. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher)(052) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS *Art Activities; Art Appreciation; Art Criticism; *Art Education; Course Content; Curriculum Guides; Foreign Countries; Grade 9; High Schools; *Secondary School Curriculum IDENTIFIERS Manitoba ABSTRACT This Manitoba, Canada curriculum guide presents an art program that effectively bridges Canadian junior and senior high school art levels. Content areas include media and techniques, history and culture, criticism and appreciation, and design. Four core units present fundamental art knowledge through themes based on self and environmental exploration. Media and techniques used include drawing, collage, sculpture and ceramics. Four secondary units are enrichment oriented. Maskmaking expands on self-exploration by examining different faces humans present to establish identity and communication. Mass media introduces students to concepts of advertisement communication. Differences between need and want are explored. Landscape is studied as interpretations of environment as seen, remembered, or imagined. Investigation of the future allows for exploration of various scenarios with a wide variety of materials. The teaching method employed is problem solving/inquiry. Idea journals and portfolios are identified and used as evaluation tools. Appendices and bibliographies are included. (MM) ********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** 1993 Senior I Art U S.
    [Show full text]
  • 14Th Annual Report the Canada Council 1970-1971
    1 14th Annual Report The Canada Council 1970-1971 Honourable Gérard Pelletier Secretary of State of Canada Ottawa, Canada Sir, I have the honour to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth Ii, 1957, Chap. 3) for the fiscal year ending March 31, 1971. I am, Sir, Yours very truly, John G. Prentice, Chairman. June 341971 3 Contents The Arts The Humanities and Social Sciences Other Programs 10 Introduction 50 Levels of Subsidy, 1966-67 to 1970-71 90 Prizes and Special Awards 12 Levels of Subsidy, 1966-67 to 1970-71 51 Research Training 91 Cultural Exchanges Doctoral Fe//owships; distribution of 14 Music and Opera Doctoral Fellowships by discipline. 96 Canadian Commission for Unesco 21 Theatre 54 Research Work 100 Stanley House Leave Fellowships; distribution of Leave 27 Dance Fellowships by discipline; Research Finances Grants; distribution of Research Grants 102 Introduction 30 Visual Arts, Film and Photography by disciph’ne; list of Leave Fellowships, Killam Awards and large Research 105 Financial Statement 39 Writing Grants. Appendix 1 48 Other Grants 78 Research Communication 119 List of Doctoral Fellowships List of grants for publication, confer- ences, and travel to international Appendix 2 meetings. 125 List of Research Grants of less than $5,000 86 Special Grants Support of Learned Societies; Appendix 3 Other Assistance. 135 List of Securities March 31. 1971 Members John G. Prentice (Chairman) Brian Flemming Guy Rocher (Vice-Chairman) John M. Godfrey Ronald Baker Elizabeth A. Lane Jean-Charles Bonenfant Léon Lortie Alex Colville Byron March J.
    [Show full text]
  • The Maze the Inverted [Burr] Is I As a Child, Trapped Painfully Between Two Aspects of My Father, the One I Hated and the One I Worshipped.1(P4)
    ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD The Maze The inverted [burr] is I as a child, trapped painfully between two aspects of my father, the one I hated and the one I worshipped.1(p4) ILLIAM KURELEK (1927-1977) WAS THE SON OF Ukrainian immigrants to Canada and was W raised on rural farms in Alberta and Manitoba. Unsuited to farm work, he bore the brunt of his father’s frustration in the difficult years of the Great Depression and felt contempt from his father about his lack of man- liness. These experiences affected him deeply and led him to withdraw into himself.2 Chronically depressed, Kurelek went to London, En- gland, in 1953 to pursue his art education and to seek psy- chiatric treatment at the Maudsley Hospital. Frustrated by his slow progress in psychotherapy, he completed an au- tobiographical painting, The Maze, to draw attention to his suffering and to show his physicians that he was an inter- esting specimen.3 Likening it toT. S. Eliot’s poem The Hol- low Men (“Paralyzed force, gesture without motion”(4p60)), Figure. Kurelek, Out of the Maze, 1971. he drew “a kind of pictorial package of all my emotional from The Maze, its compartments now empty, lies dis- problems in a single painting.... Itwasmyfirm belief that carded in a luxuriant green meadow. Kurelek and his wife my problems stemmed from my father’s farm failures, his and children, their hands drawn together in prayer, enjoy habit of taking out his frustrations on me.... Myhelp- a picnic.
    [Show full text]
  • THE COLLECTION Permanent Collections Are Complex, Amazing, and Very Weighted Things
    THE COLLECTION Permanent collections are complex, amazing, and very weighted things. The ways they are formed, presented, and interpreted all speak of choices—choices made one hundred years ago and yesterday. These choices express who we are, and crucially, who we want to be. The Art Gallery of Hamilton is proud of its collection, while at the same time recognizing that there is still work to be done in accounting for the biases, omissions, and—yes—idiosyncrasies of our holdings. Although we aim to have old favourites out on the floor as much as possible, we also have a responsibility to bring lesser-known work to public consideration. Given the challenges of properly balancing these concerns, and knowing that for practical reasons only a small percentage of the collection can be out of the vaults at any given time, what kind of choices inform how we present the collection? This selection is founded on an internal conversation among staff members aimed at demonstrating and testing the dexterity of our holdings. This conversation repeatedly returned to a set of central questions: How does the collection articulate an identity for the Hamilton region as well as for Canada? How can it reflect the shifting perspective of a single artist over time, as well as illustrate the shifting perspectives of many artists tackling a common subject, be it abstraction, landscape, or representation? Who do we see represented? And perhaps most importantly, who is not here? These questions, while directed, are fluid and organic; they change and shift over time and should reflect the times we live in and the things we are talking about as a society.
    [Show full text]
  • George Glenn: Process of Making Art Becomes a Positive Force
    George Glenn: Process of making art becomes a positive force Commissioned by the Saskatchewan Arts Alliance “Paradise” is how artist George Glenn describes Saskatchewan. Born in Regina’s Lakeview neighborhood, “right next to the prairie”, Glenn remembers his boyhood there when the “tumbleweed would roll down McCallum Avenue”. Today he’s a visual artist who makes his home in Prince Albert, where he has been working as an artist and teacher for more than 25 years. Glenn has found that Saskatchewan is a place where he can create, exhibit, and enjoyed a community of friends who are, in his words, “artists of life”, though they may not necessarily be working in art Glenn mostly stays close to home, but he speaks of “trips”, “travels” and “space”, which seemed to be recurrent themes in his life and art. In 1959 when he was a teen, and his interest in art had already surfaced, Glenn’s family moved to Winnipeg, where he went to Grant Park High School and the University of Manitoba. In 1970 after receiving a degree in fine arts, he moved to Alberta and worked as a curatorial assistant at the Glenbow Museum for two years. His next move took him to the master of fine arts program at the University of Cincinnati where he graduated in 1974. He says his most significant influences were teachers he encountered at the University of Manitoba. Alex Bruning, Ken Lochhead, George Swinton and Ivan Eyre, though very different in their paintings styles, all “demonstrated enthusiasm about the making of art”. The enthusiasm was infectious for Glenn.
    [Show full text]
  • November 2015
    FALL AUCTION OF IMPORTANT CANADIAN ART Online Auction All bidding takes place at Consignor.ca BIDDING OPEN: Wednesday, November 18th at 10:00 am EST to Wednesday, November 25th, 2015 beginning at 7:00 pm EST ON VIEW: November 2nd – 21st Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm November 22nd – 25th Sunday, November 22nd: 11:00 am to 5:00 pm Monday, November 23rd – Wednesday, November 25th: 9:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 / 1-866-931-8415 (toll free) [email protected] Consignor Canadian Fine Art presents a new partnership within the Canadian art industry. The venture bridges the services of the retail gallery and auction businesses in Canada with a team of industry professionals who specialize in consultation, valuation, and professional presentation of Canadian art and have unparalleled reputations in providing exceptional service to the specialized clientele. Mayberry Fine Art partner Ryan Mayberry and auction industry veterans Rob Cowley and Lydia Abbott act as the principals of Consignor Canadian Fine Art, a hybridized business born in response to the changing landscape of the Canadian art industry. Apart from the sales of artwork through auction and private means, Consignor Canadian Fine Art also provides professional appraisal and consultation services, serving our clientele through a wide range of purposes, including insurance, probate, and donation. Should you feel that our team can be of assistance, please contact us directly in order to receive further information regarding our services as well as confdential and complimentary consultations regarding your artwork, with no further obligation.
    [Show full text]
  • William Kurelek's Picture Books
    Through a glass darkly: William Kurelek's picture books Jetske Sybesma-Ironside ~illiamKurelek's first one-man exhibition at the Isaacs Gallery in Toronto in March, 1960, marked the beginning of his successful career as a painter and illustrator of children's books. In his pictures we recognize our own percep- tions of Canada: the Prairie, where farmers cultivate the land with powerful machinery, or where children's games are recurrent motifs in summer or winter season; the North, where man is seen to endure the elements while working in the bush or where a dream of the Christmas story is re-enacted by humble people. Kurelek's gift of capturing momentary actions of man and beast animates his picture books so that the images convey the narrative visually. The immediate impact of the artist's illustrations is largely due to the realistic, descriptive style in which the objects and figures are drawn. He outlines all his visible objects with an animated contour, establishing a clarity of pictorial form. Kurelek tends to simpllfy these objects so that minor details are sacrificed for an emphasis on a typical gesture or pose. This style of drawing enhances our instant recognition of a characteristic gestalt with a result that the total effect of the pictorial images appears very life-like rather than being photographically accurate. Although it is often remarked that the artist was influenced by the sixteenth century painter, Pieter Bruegel, who painted children's games, the seasons and the common man active in his daily toil, it seems that Kurelek's style of drawing was largely formed through the so-called "Nicolaides method".
    [Show full text]
  • Post-War & Contemporary
    heffel f ine Art Auction Auction ine Art h ouse post-war & contemporary art & contemporary post-war post-wAr & contemporAry Art Sale Wednesday, july 15, 2020 · 5 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, July 15, 2020 5 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, Vancouver 2247 Granville Street Saturday, June 20 through Tuesday, June 23, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, July 2 through Saturday, July 4, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Friday, July 10 through Tuesday, July 14, 10 am to 6 pm Wednesday, July 15, 10 am to 1 pm 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 613-230-6505 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. An Annual Subscription entitles Vancouver you to receive our Auction Catalogues and Auction Result Sheets.
    [Show full text]
  • 2019 Annual Report
    ANNUAL REPORT ART GALLERY OF HAMILTON 2019 PRESIDENT & CEO Shelley Falconer 2019 BOARD OF DIRECTORS Gary Graham, Chair Scott Galbraith, Secretary Treasurer Sara Angelucci Councillor John-Paul Danko Laurie Davidson Dilk Dhanapala Scott Galbraith Dr. Rick W. Hill Sr. Craig Laviolette James Lefebvre Eleanor McMahon Lisa Marcuzzi Ryan Parkinson Councillor Maria Pearson Joe Pietrantonio Dr. Leonard Waverman Cam Theroux, Chair, AGH Volunteer Committee CONTACT 123 King Street West Hamilton, Ontario, Canada L8P 4S8 (905) 527-6610 [email protected] Table of Contents 2 BOARD OF DIRECTORS 4-5 MESSAGE FROM THE CHAIR AND PRESIDENT & CEO 6-9 EXHIBITION HIGHLIGHTS 10-11 EXHIBITIONS 12-14 ACQUISITIONS 16-17 PROGRAMS AND EDUCATION HIGHLIGHTS 18-19 REPORT FROM THE CHAIR, VOLUNTEER COMMITTEE 20-21 2019 BY THE NUMBERS 22-25 DONOR SUPPORT AND SPONSORSHIP Front Cover image credit: Installation view of Above the Fold: New Expressions in Origami, 2019, featuring work by Jiangmei Wu. Photo: Mike Lalich Back Cover image credit: Installation view of The Collection, 2019, featuring works by Lawren Harris. Photo: Robert McNair ART GALLERY OF HAMILTON - ANNUAL REPORT - 2019 Message from the Chair and President & CEO A banner year for the AGH, 2019 saw the Gallery collaborating on an unprecedented number of projects, working across disciplinary boundaries and culminating in 22 exhibitions, over 20 public talks and panels, and over 190 public programs. Our exhibitions featured 331 artists, collaborated with over 20 partners, and welcomed in over 250,000 visitors. We provided innovative education and outreach programs to over 14,000 students from junior kindergarten through post-secondary schools. A year full of incredible exhibitions featured a two-fold approach to engaging our visitors – responding to calls to see more of our permanent collection, and presenting oft-overlooked modes of contemporary art representation.
    [Show full text]
  • 27 William Kurelek to the Love of Fine Art
    of Manitoba, and then enrolled at the Ontario College of Art in 1. William Kurelek, quoted in Joan Murray, Kurelek’s Vision of Toronto. Unsatisfied with the instruction and the OCA’s formal Canada (Oshawa, ON: Robert McLaughlin Gallery, 1982), 72. setting, Kurelek hitchhiked the continent, spending time at an 2. Ibid., 71. artists’ colony in Mexico before boarding a ship to England. Over- seas for nearly a decade, he underwent psychiatric treatment about the provenance for ailments he had developed as a teenager and converted to Starting Flywheel tractor has a noteworthy provenance. Roman Catholicism. When his health improved, Kurelek visited In addition to having been featured in the 2011 retrospective and numerous art museums throughout Europe, where he saw the publication William Kurelek: The Messenger, it is being offered for work of Pieter Bruegel, Matthias Grünewald, Hieronymus Bosch auction by the family of Janet Braide MFA (1926 – 1987), a noted and other Northern Renaissance artists who would exert a lasting Canadian art historian, curator, author and collector. Mrs. Braide, impression on his creativity, outlook and identity. who was a student and mentee of J. Russell Harper, received her Back in Toronto by 1959, a virtually unknown artist, Kurelek’s first curatorial assignment in 1979 from the Agnes Etherington star began its meteoric rise. He received his first solo exhibition Art Centre, Queen’s University, Kingston. Her work resulted in in 1960, at the Isaacs Gallery. His paintings were soon being a major retrospective of the work of William Brymner, a con- acquired by major institutions across North America, includ- tribution that was recognized in the 2010 publication William ing the National Gallery of Canada, Art Gallery of Ontario and Brymner: Artist, Teacher, Colleague, dedicated to her memory.
    [Show full text]
  • Connotations of Identities in William Kurelek's Paintings: Typology and Critical Art Analysis
    Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Vol. 13, No. 1, January-March, 2021. 1-9 Full Text: http://rupkatha.com/V13/n1/v13n104.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v13n1.04 Connotations of Identities in William Kurelek's Paintings: Typology and Critical Art Analysis Khrystyna O. Beregovska1, Myroslava I. Zhavoronkova2, Tetiana F. Krotova3, Andrii L. Demianchuk4 & Andrii A. Tаrasenko5 1Department of Theory and History of Art, Lviv National Academy of Arts, Lviv, Ukraine 2Department of Fine and Applied Arts, Yuriy Fedkovych Chernivtsi National University, Chernivtsi, Ukraine 3Department of Artistic Costume Modeling, Kyiv National University of Technologies and Design, Kyiv, Ukraine 4Department of Directing and Choreography, Ivan Franko National University of Lviv, Lviv, Ukraine 5Department of Theory and Methods of Decorative and Applied Arts and Graphics, South Ukrainian National Pedagogical University named after K.D. Ushynsky, Odesa, Ukraine Contact: [email protected] Abstract Despite the high popularity of William Kurelek in Canadian society, relatively few interpretations of his works can be found at the scientific, art criticism level. Based on the analysis of William Kurelek's artistic legacy a typological study was conducted identifying the Canadian artist’s thinking and personal position declared openly in his art. A study of the thematic content of his paintings led to the identification of the following categories: personal, religious and awareness of community membership. The article outlines the difference between the notion of national and ethnic identity, which the artist saw in the difference between national and ethnic identity an instrument to self-awareness through membership in a particular community as a result of common spiritual, religious and social convictions with shared modes of behavior, mores and traditions.
    [Show full text]
  • Sculptors in the Prairie Provinces Illi-Maria Harff
    Document generated on 09/26/2021 5:59 a.m. Vie des Arts Sculptors in the Prairie Provinces Illi-Maria Harff Au delà de la sculpture Number 54, Spring 1969 URI: https://id.erudit.org/iderudit/58183ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Harff, I.-M. (1969). Sculptors in the Prairie Provinces. Vie des Arts, (54), 49–53. Tous droits réservés © La Société La Vie des Arts, 1969 This document is protected by copyright law. Use of the services of Érudit (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/ Ivan EYRE. Mana Idol, 1966. Plâtre. 25'/4" (64,15 cm). Winnipeg Art Gallery, (photo Brigdens). sculptors in the prairie provinces by ILLI-MARIA HARFF 10 2. Bruce Head. Peak. Toile sculpturale, (photo H. Kalen). 3. Doug BENTHAM. Acier peint, 1968. H.: 96" (243,85 cm). Mendel Art Gallery. 4. R. P. KOSTYNIUK. Relief structuriste, 196E (photo H. Kalen). 5. Bill EPP. Centenial, 1965. 6. Ricardo GOMEZ. Sans titre, 1968. Fibre d verre et plomb laques. H.: 12"; L.: 108" P.: 36" (30,5 x 274,35 x 91,45 cm), (phot Brigdens). 7.
    [Show full text]