Canadian Post~War & Contemporary
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Finding Artwork
Splash Page THE PLASTICIENS AND BEYOND MONTREAL 1955 - 1970 Varley Art Gallery of Markham CONTACT INFO Varley Art Gallery 216 Main St Unionville, ON L3R 2H1 905-477-9511 ext. 3263 http://www.visitthevarley.com/ ABOUT THE GALLERY The Varley Story The Group of Seven The Group of Seven is famously known to have established a distinct aesthetic to the Canadian landscape, its members are historically recognized for the impact they have made on the Canadian art movement. Frederick Varley, Tom Thomson, J.E.H MacDonald, Arthur Lismer, Frank Johnston, and Franklin Carmichael would first meet as employees at the design firm Grip Ltd in Toronto. These six men would come together during and after work discussing bold new directions for Canadian Art, they were joined by A.Y Jackson and Lawren Harris in 1913. With the support of Dr. James MacCallum, an artist and university professor, the group raised money to build the Studio Building for Canadian Art in Toronto. It was there that they would create masterpieces as they discovered the distinct light of the Canadian atmosphere and capture it in bold new ways. The production the group was interrupted as they suffered tragedy when Tom Thomson, one of the founding members died in mysterious circumstances; shortly after, some of the members left to serve in the First World War. It was not until 1920 that the Group of Seven officially formed with their first exhibition in Toronto. Once their popularity grew, the artists began to travel Canada capturing what inspired them. The group shared a like vision concerning art in Canada. -
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. -
Canada's Second World War Official Art Program
“Doing justice to history”: Canada’s Second World War official art program The Canadian War Records (CWR), Canada’s Second World War art program, produced two kinds of art: field sketches and finished paintings. What is the relative value of each as an historical record? Is the truthfully observed detail of the battlefield in the form of a sketch as valuable a document as an oil on canvas that has eschewed extraneous detail, added missing information from other sources, and been compositionally focused on a significant historical event as a result of a creative process? The War Artists’ Committee (WAC), which ran the CWR from Ottawa and devised the official instructions issued to all the war artists in 1943, believed it knew the answer. When the WAC recommended in its instructions that the artists share in the experience of “active operations” in order to “know and understand the action, the circumstances, the environment, and the participants”, it viewed this only as an information gathering and research stage. This stage, as the instructions note, existed solely to meet the committee’s ultimate goal: “productions” that were “worthy of Canada’s highest cultural traditions, doing justice to History, and as works of art, worthy of exhibition anywhere at any time”. The instructions charged the artists with portraying “significant events, scenes, phases and episodes in the experience of the Canadian Armed Forces”, and required each of the 32 artists hired to produce two 40 x 49 inch canvases, two 24 x 30 inch canvases, and ten 22 x 30 inch watercolours. The instructions make it clear that the WAC highly valued these finished paintings. -
Art in 2017: a View from Turtle Island – Canadian Art
1/18/2018 Art in 2017: A View from Turtle Island – Canadian Art FEATURES / / Art in 2017: A View from Turtle Island Strong exhibitions in Winnipeg, Kitchener-Waterloo and Toronto highlight an Indigenous critic’s year-end bests DECEMBER 28, 2017 BY LINDSAY NIXON Mike MacDonald, Seven Sisters, 1989. Video installation, running time: 7 videos, 55 minutes each. Courtesy of Vtape, Toronto © Mike MacDonald. Installed at “Carry Forward” at the Kitchener-Waterloo Art Gallery. Image courtesy of KWAG. Photo: Robert McNair. The year was an exciting one for Indigenous art in so-called Canada—likely somewhat propelled by the Canada Council’s newly created funding stream for Indigenous art. I can’t think of another period—outside of 1992, the 350th anniversary of the birth of Montreal and 500 years since Columbus did not discover America—when Indigenous art was this dynamic. This year was host to a diverse group of new voices for Indigenous art, an array of artists and curators who established themselves as strong leaders and key gures in this new wave of contemporary Indigenous art. Joi https://canadianart.ca/features/art-in-2017-carrying-forward/ 1/13 1/18/2018 Art in 2017: A View from Turtle Island – Canadian Art T. Arcand, Dayna Danger, Asinnajaq, Jade Nasogaluak Carpenter, Becca Taylor, Tsēma Igharas, Jeneen Frei Njootli and Lacie Buring come to mind, to name only a few. Is what Tanya Harnett told me true—are we witnessing the emergence of a seventh wave in Indigenous art within so-called Canada? Whatever this moment is, it’s adamantly feminist; run by women, gender variant and sexually diverse peoples; and entrenched in values of care and reciprocity. -
Property of the Estate of Betty Goodwin
PrOPerty Of The estate Of Betty goodwin BeTTY GOODWIN (1923 – 2008) mentor Joseph Beuys, who often wore vests. In her own words, “With the Vest series, I made a very explosive and meaningful Born in Montreal in 1923, Betty Goodwin was the only child connection.” 2 of Romanian and Jewish immigrants, Clare Edith and Abraham In 1995, Goodwin’s work was included in the exhibition Roodish. Spanning nearly 50 years, her oeuvre is monumen- Identity and Alterity: Figures of the Body, 1895 / 1995, at the Venice tal, sentient and authentic, and thanks to her strong sense of Biennale, and in 1996, the National Gallery of Canada held a humanism, it expresses the fragility and complexity of the human major solo show entitled Betty Goodwin: Signs of Life. She was experience. Goodwin has worked in a variety of media—painting, the recipient of many awards and recognitions throughout her drawing, collage, printmaking and sculpture—and often in series, exceptional career, including the Victor Martyn Lynch-Staunton such as Swimmers, Tarpaulin and La mémoire du corps (Memory Award of the Canada Council for the Arts in 1983, the Banff Cen- of the Body). Often associated with expressing themes of loss, tre National Award for Visual Arts in 1984, the Prix Paul-Émile absence and memory, her poignant works deal sensitively with Borduas in 1986, a Guggenheim Foundation Fellowship in 1988, challenging subjects. Art historian Matthew Teitelbaum wrote the Gershon Iskowitz Prize in 1995, the Harold Town Prize that “her work is a process made clear; expressing feeling is a way in 1998, and the Governor General’s Award and the Order of of preserving and healing the self.” 1 Canada in 2003. -
Kenneth Noland
! KENNETH NOLAND BIOGRAPHY Born in 1924 in Asheville, North Carolina US Died in 2010 in Port Clyde, Maine US EDUCATION & TEACHING 1985-90 Serves on the Board of Trustees, Bennington College, Bennington Vermont US 1985 Named Milton Avery Professor of the Arts, Bard College, Annandale-on-Hudson, New York US 1952-56 Taught at the Washington Workshop Center for the Arts US 1951-60 Taught at the Catholic University of America, Washington D.C. US 1949-51 Taught at the Institute of Contemporary Art, Washington D.C. US 1948-49 Studies with Ossip Zadkine in Paris FR 1946-48 Studies at Black Mountain College, North Carolina US SELECTED SOLO EXHIBITIONS 2019 Kenneth Noland, Almine Rech, Paris FR 2017 Kenneth Noland: Cicles - Early + Late, Yares Art, New York US Kenneth Noland, Pace Prints, New York US Kenneth Noland: Into the Cool, Pace Gallery, New York US 2016 Kenneth Noland: Unbalanced, Paul Kasmin Gallery, New York US 2015 Kenneth Noland: Color and Shape 1976–1980, Castelli, New York US Kenneth Noland: selected Works 1958-1980, Cardi Gallery, Milan IT ! ! ! 2014 Kenneth Noland: Handmade Paper and Monoprints 1978-1984, Meredith Long & Company, Houston US Kenneth Noland: Paintings 1975-2003, Pace Gallery, New York US 2012 Kenneth Noland: Mysteries, Full Circle, Yares Art Projects, Santa Fe US 2011 Kenneth Noland: Paintings 1958-1968, Mitchell-Innes & Nash, New York US 2010 Kenneth Noland, 1924-2010: A Tribute, Solomon R. Guggenheim Museum, New York US Kenneth Noland: A Tribute, Museum of Fine Arts, Houston US 2009 Kenneth Noland: Shaped Paintings -
University Settlement Annual Report 2009
University Settlement Annual Report 2009 Board of Directors 2009-2010 Executive Luke Stringer, President Paddi-Anne Crossin, Vice-President Jason Wong, Treasurer Molly McCarron, Secretary Richard Carmichael, Member-at-Large David Colangelo, Member-at-Large Members Genevieve Brown Julian Diego Chris Donkers Edith Galinaitis Aasta Levene Jack Li Kenneth Mak Sohrab Movahedi Ex-Officio James Roy, Past President Adam Vaughan, City of Toronto Contents President & Executive Director’s Report 2 Agency Profile 4 Agency Highlights 6 Language 10 Recreation 12 Music & Arts 14 Daycare 16 Employment & Training 18 Out of the Cold 20 Settlement & Social Services 22 Behind the Scenes 24 Volunteers 26 Funders & Donors 28 Financials 31 Supporting the United Way 32 President & Executive Director’s Report Helping our community to fly…. Every day at University Settlement the staff, volunteers and Board of Directors work hard to help our community to learn and grow and to enhance the quality of life of the people in the diverse communities we serve. We do that through a diverse range of programs and services offered at our four locations throughout Toronto. We are excited to share with you, through our 2009 Annual Report, just some of the highlights of our last year. During 2009 we faced a City of Toronto strike, the H1N1 virus and the continued impact of the global economic crisis. Whether it was working with the community to clean up Grange Park last summer, or providing information on H1N1, or offering financial management workshops for newcomers, University Settlement and our community confronted the challenges together making it easier to manage. -
Fine Canadian Art
HEFFEL FINE ART AUCTION HOUSE HEFFEL FINE ART FINE CANADIAN ART FINE CANADIAN ART FINE CANADIAN ART NOVEMBER 27, 2014 HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE ISBN 978~1~927031~14~8 SALE THURSDAY, NOVEMBER 27, 2014, TORONTO FINE CANADIAN ART AUCTION THURSDAY, NOVEMBER 27, 2014 4 PM, CANADIAN POST~WAR & CONTEMPORARY ART 7 PM, FINE CANADIAN ART PARK HYATT HOTEL, QUEEN’S PARK BALLROOM 4 AVENUE ROAD, TORONTO PREVIEW AT HEFFEL GALLERY, VANCOUVER 2247 GRANVILLE STREET SATURDAY, NOVEMBER 1 THROUGH TUESDAY, NOVEMBER 4, 11 AM TO 6 PM PREVIEW AT GALERIE HEFFEL, MONTREAL 1840 RUE SHERBROOKE OUEST THURSDAY, NOVEMBER 13 THROUGH SATURDAY, NOVEMBER 15, 11 AM TO 6 PM PREVIEW AT UNIVERSITY OF TORONTO ART CENTRE 15 KING’S COLLEGE CIRCLE ENTRANCE OFF HART HOUSE CIRCLE SATURDAY, NOVEMBER 22 THROUGH WEDNESDAY, NOVEMBER 26, 10 AM TO 6 PM THURSDAY, NOVEMBER 27, 10 AM TO 12 PM HEFFEL GALLERY, TORONTO 13 HAZELTON AVENUE, TORONTO ONTARIO, CANADA M5R 2E1 TELEPHONE 416 961~6505, FAX 416 961~4245 TOLL FREE 1 800 528-9608 WWW.HEFFEL.COM HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE CATALOGUE SUBSCRIPTIONS A Division of Heffel Gallery Inc. Heffel Fine Art Auction House and Heffel Gallery Inc. regularly publish a variety of materials beneficial to the art collector. An TORONTO Annual Subscription entitles you to receive our Auction Catalogues 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 and Auction Result Sheets. Our Annual Subscription Form can be Telephone 416 961~6505, Fax 416 961~4245 found on page 116 of this catalogue. -
Note to Users
NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI Social Discourse in the Media Interpretation of Christiane Pflugfs Do11 Paintings Michelle H. Veitch The Department of Art History Presented in Partial Fulfilment of the Requirements for the Degree of Master of Arts at Concordia University Montreal, Quebec, Canada September 19 9 8 Q Michelle H. Veitch, 1998 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canach Canada Your fik, Votre teference Our I% Notre rréfdrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou su.format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othedse de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. -
Winter 2003 Newsletter
ARLIS ON it’s about YOUR community ARLIS ONTARIO’S OFFICIAL E-NEWSLETTER vol. 1 • #2 • fall 2003 contents notes from member the chair profiles message from the chair Hildegard Lindschinger The fall semester, the first Art-related printed and .............................1 & 4 involving the “double cohort,” manuscript materials in member profiles is racing toward its finish line. Archives & Special Art-related materials in As we race along with it, we’ll Collections, Scott Library, Archives & Special Collections, be glad to finally catch our Scott Library, York University breath, catch up on some of York University Mary Williamson Mary Williamson those ever-growing piles on .............................1 & 2 our desks... recent projects The Silent Auction event at Art Gallery of Ontario OCAD on December 15 Randall Speller should be the perfect antidote .............................2 & 3 to any stress encountered along the way! upcoming At the Fall Meeting in Toronto, we had passed out events surveys about what kind of work is done by our ARLIS/NA Ontario members. Charles Eames furniture. ANNUAL Twenty-three forms were Archives & Special Collections filled out and submitted; the SILENT AUCTION following is a summary that Monday December 15, you might find quite 6:00 pm - 9:00 pm interesting. BOOKS, PERIODICALS, Ontario College of Art & EXHIBITION CATALOGUE Design Library Of the 23 entries, 18 were When I began my career at # bring your favorite"potluck" from members; 5 were visitors York as Fine Arts hors d'oeuvres Bibliographer in 1970, art # acquire treasures from your at the Fall meeting. ARLIS-Ontario colleagues! books in many categories Visit the ARLIS-Ontario Continued on pg. -
Vente Aux Enchères En Ligne Printemps 2020 Online Auction Spring 2020
ART D’APRÈS-GUERRE & CONTEMPORAIN POST-WAR & CONTEMPORARY ART Vente aux enchères en ligne Printemps 2020 Online Auction Spring 2020 DU 28 MAI AU 18 JUIN 2020 MAY 28 TO JUNE 18, 2020 Vente aux enchères en ligne Printemps 2020 Online Auction Spring 2020 DU 28 MAI AU 18 JUIN 2020 MAY 28 TO JUNE 18, 2020 LA VENTE SE TERMINE LE 18 JUIN À 14 H AUCTION CLOSES JUNE 18 AT 2 PM Rue St-Dominique Rue St-Denis Boul St-Laurent Rue Clark Rue Beaubien E Rosemont M Les enchères BYDealers Rue de Bellechasse Auction House Rue Beaubien O Ave Van Horne P Ave du Parc Boul St-Laurent Ave Bernard 2 ART D’APRÈS-GUERRE & CONTEMPORAIN / POST-WAR & CONTEMPORARY ART Exposition des œuvres Preview of works MONTRÉAL 6345, boul. Saint-Laurent DU MARDI AU SAMEDI, DE 10 H À 18 H TUESDAY TO SATURDAY, 10 AM TO 6 PM ART D’APRÈS-GUERRE & CONTEMPORAIN / POST-WAR AND CONTEMPORARY ART 28 MAI AU 18 JUIN 2020 / MAY 28 TO JUNE 18, 2020, MONTRÉAL 3 Les enchères BYDealers / Catalogue Inscriptions au catalogue / Auction House Catalogue Subscriptions Directrice du catalogue / Pour recevoir le catalogue des futures enchères, visitez 6345, boulevard Saint-Laurent Catalogue Manager notre site Internet pour remplir le formulaire d’inscription Montréal (Québec) H2S 3C3 Annie Lafleur ou écrivez-nous à [email protected]. 1 888 399-7856 Révision et lecture d’épreuves / To receive catalogues of future auctions, visit 514 274-2606 Copy editing our website to fill out the form or write to us at [email protected] Joanie Demers [email protected]. -
Leisure and Pleasure As Modernist Utopian D3eal: the Drawings and Paintings by B.C.Binning from the Mid 1940S to the Early 1950S
LEISURE AND PLEASURE AS MODERNIST UTOPIAN D3EAL: THE DRAWINGS AND PAINTINGS BY B.C.BINNING FROM THE MID 1940S TO THE EARLY 1950S by KAORI YAMANAKA B.A., The University of British Columbia, 1994 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1999 © Kaori Yamanaka, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date A(^i( 30, DE-6 (2/88) 11 Abstract Bertram Charles Binning's depiction of British Columbia coastal scenes in his drawings and paintings of the mid 1940s to the early 1950s present images of sunlit seascapes in recreational settings; they are scenes of leisure and pleasure. The concern for leisure and pleasure was central to the artist's modernism, even after he began painting in a semi-abstract manner around 1948. In this particular construction of modernism, Binning offered pleasure as an antidote to some of the anxieties he observed in postwar culture.