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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. -
Cahiers-Papers 53-1
The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf. -
Anansi Fall 2011
Karin Altenberg Threes Anna Edem Awumey Peter Behrens Lynn Coady Elena Forbes John Fraser Misha Glenny Adam Gopnik Ian Hamilton Marjorie Harris Jim Harrison Robert Hough Fred Jourdain Stephen Kelman Robert Lepage Roberta Lowing Ai Mi ANANSI Marie Michaud GRANTA • PORTOBELLO Steve Milton FALL 2011/WINTER 2012 Scott Moir Erín Moure Alison Pick Iain Reid Edward Riche Frauke Scheunemann Steve Sem-Sandberg Carrie Snyder Tessa Virtue ISBN: 978-1-77089-060-2 9 7 8 1 7 7 0 8 9 0 6 0 2 Anansi_F11_cover_final_REV.indd 1 11-04-19 2:46 PM • • House of Anansi Press Inc. 110 Spadina Avenue, Suite 801, Toronto, Ontario M5V 2K4 Tel: 416.363.4343 Fax: 416.363.1017 www.anansi.ca recent AWArdS For AnAnSi booKS Ann Abel by KAthleen Winter h oldinG Still For as lonG as PoSSible by • Finalist, Orange Prize for Fiction Zoe WhittAll • Finalist, Scotiabank Giller Prize • Winner, Earla Dunbar Consumer Award • Finalist, Rogers Writers’ Trust Fiction Prize • Finalist, ReLit Award • Finalist, Governor General’s Literary Award: Fiction • Finalist, Lambda Literary Awards: Transgender Fiction • Finalist, Amazon.ca First Novel Award • Finalist, Lambda Literary Awards: Lesbian Fiction • Finalist, Thomas Head Raddall Atlantic Fiction Award • ALA Stonewall Book Awards: Barbara Gittings • Finalist, CBA Libris Awards for Fiction Book of the Year Literature Award Honor Book and Author of the Year t rhe ir AtionAliSt byA SuZ nne buFFAm • Finalist, OLA Evergreen Award • Finalist, CBC Bookies: Best Overall Book • Finalist, Griffin Poetry Prize • #1 National Bestseller oP reS lAndor by erín moure • A New York Times Editors’ Choice • Finalist, A. M. -
Fall 2013 / Winter 2014 Titles
INFLUENTIAL THINKERS INNOVATIVE IDEAS GRANTA PAYBACK THE WAYFINDERS RACE AGAINST TIME BECOMING HUMAN Margaret Atwood Wade Davis Stephen Lewis Jean Vanier Trade paperback / $18.95 Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $19.95 ANANSIANANSIANANSI 978-0-88784-810-0 978-0-88784-842-1 978-0-88784-753-0 978-0-88784-809-4 PORTOBELLO e-book / $16.95 e-book / $16.95 e-book / $16.95 e-book / $16.95 978-0-88784-872-8 978-0-88784-969-5 978-0-88784-875-9 978-0-88784-845-2 A SHORT HISTORY THE TRUTH ABOUT THE UNIVERSE THE EDUCATED OF PROGRESS STORIES WITHIN IMAGINATION FALL 2013 / Ronald Wright Thomas King Neil Turok Northrop Frye Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $14.95 978-0-88784-706-6 978-0-88784-696-0 978-1-77089-015-2 978-0-88784-598-7 e-book / $16.95 e-book / $16.95 e-book / $16.95 e-book / $14.95 WINTER 2014 978-0-88784-843-8 978-0-88784-895-7 978-1-77089-225-5 978-0-88784-881-0 ANANSI PUBLISHES VERY GOOD BOOKS WWW.HOUSEOFANANSI.COM Anansi_F13_cover.indd 1-2 13-05-15 11:51 AM HOUSE OF ANANSI FALL 2013 / WINTER 2014 TITLES SCOTT GRIFFIN Chair NONFICTION ... 1 SARAH MACLACHLAN President & Publisher FICTION ... 17 ALLAN IBARRA VP Finance ASTORIA (SHORT FICTION) ... 23 MATT WILLIAMS VP Publishing Operations ARACHNIDE (FRENCH TRANSLATION) ... 29 JANIE YOON Senior Editor, Nonfiction ANANSI INTERNATIONAL ... 35 JANICE ZAWERBNY Senior Editor, Canadian Fiction SPIDERLINE .. -
English Reports
Document generated on 09/25/2021 7:14 p.m. Vie des arts English Reports Cosmos Volume 43, Number 175, Summer 1999 URI: https://id.erudit.org/iderudit/53134ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this document (1999). English Reports. Vie des arts, 43(175), 70–79. Tous droits réservés © La Société La Vie des Arts, 1999 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/ 1/1 MONTREAL Copping's somewhat abstract sculp The human scale of Kahane's COSMOS: FROM ROMANTICISM -M tures is like looking at undulating individual sculptural works is even TO THE AVANT-GARDE i- forests and moss-covered mounds, more emphatic in the public art Montreal Museum of Fine Arts o GLASS ARTISTS rivers and light bouncing off ripples. commissions she conceived. These June 17th - October 17th, 1999 o. BREAK NEW A complicity exists between the include the Sculpture Wall Kahane We now live in a world where created for Mount Allison University FRONTIERS two artists's separate,yet kindred, images of sub-atomic particles and productions, as they invest the in Sackville, N.B. -
House of Anansi's Spiderline Editions
Document généré le 30 sept. 2021 01:39 Studies in Canadian Literature / Études en littérature canadienne Tracing the Web: House of Anansi’s Spiderline Editions Stephen Cain Volume 25, numéro 1, spring 2000 Résumé de l'article Established in 1969, the House of Anansi Press's Spiderline series represents a URI : https://id.erudit.org/iderudit/scl25_1art07 unique moment in Canadian publishing history. At no time previously had a Canadian publisher attempted to release the work of so many unknown and Aller au sommaire du numéro untried novelists simultaneously and also emphasize the fact that these were first, and perhaps not perfect, novels. Anansi's goals for the Spiderline series were to let new voices be heard, to give first-time novelists a chance at Éditeur(s) publication, and to get it done quickly by producing each of the Spiderlines with the same Spartan cover and identical typeface. All of the first five writers The University of New Brunswick published — Peter Such, Russell Marois, Matt Cohen, John Sandman, and Pierre Gravel — were white, male, and no older than thirty. With its diverse collection ISSN of authors, experimental styles, and youthful enthusiasm for the new, the local, and the bilingual the original Spiderline books were the vision of Dennis Lee 0380-6995 (imprimé) and David Godfrey at a time of great patriotism and literary expansion. The 1718-7850 (numérique) decision to reintroduce the Spiderline series in the late 1990s can be viewed as an attempt to regain Anansi's earlier status as a "progressive" and unique Découvrir la revue publishing enterprise. -
Toronto Improvisation, Abstract Expressionism, and the Artists' Jazz
Critical Studies in Improvisation / Études critiques en improvisation, Vol. 11, Nos. 1-2 “We Can Draw!”: Toronto Improvisation, Abstract Expressionism, and the Artists’ Jazz Band David Neil Lee The improvised performance practice that came to be known as “free jazz” burst into prominence around 1960, and soon proved itself a genre extremely permeable to influences from other artistic disciplines. It was, as John Szwed writes, “. played by musicians who often seemed to have completely escaped the jazz recruitment process. They were classically trained virtuosos and musical illiterates, intellectuals and street rebels, and highbrows disguised as primitives” (Szwed 236). Ted Gioia calls the first free jazz musicians “. almost all outsiders . an outgrowth of the bohemians and ‘angry young men’ of the 1950s” (Gioia 311). To make the members of this new movement even harder to pigeonhole, George E. Lewis points out that the new music’s emergence “was a multiregional, multigenre, multiracial, and international affair” (Lewis 40). If there was any consistency among these varied practitioners, it lay in their identification—imposed either by themselves or by their circumstances—as, in Gioia’s terminology, “outsiders,” and in their adoption of the music, what Lewis describes as “a symbolic challenge to traditional authority” (40). Over the previous two decades, abstract expressionist art had been evolving a similar language of resistance, positioning itself as a symbolic challenge to authority. It also polarized opinions in the visual art world just as free improvisation would do in the jazz world. Serge Guilbaut, for instance, writes that Jackson Pollock’s work was seen as “. ‘unpredictable, undisciplined, explosive’ . -
O Sc Ar C Ah Én
OSCAR CAHÉN OSCAR OSCAR CAHÉN Oscar Cahén beaverbrook art gallery the cahén archives™ 2017 Legal Deposit, Library and Archives Canada, 2017 ISBN 978-0-9919322-0-7 First Edition Published by the Beaverbrook Art Gallery in association with The Cahén Archives™ © 2017 The Cahén Archives™ and Beaverbrook Art Gallery all rights reserved This book or any portion thereof may not be reproduced without the permission of the publishers or their respective copyright holders. Extensive attempts have been made to trace ownership and secure permissions of copyright materials in this book. Some images may be subject to additional copyrights. Notice of Fair Use includes material for analytical and educational purposes. Please send the publishers any inquiries concerning potential inaccuracies in the credits Dust Jacket for subsequent editions. Still Life 1953 Beaverbrook Art Gallery C.R.203 703 Queen Street Oil on Masonite Fredericton, NB E3B 1C4 49.5 × 115.6 cm www.beaverbrookartgallery.org (19.5 × 45.5 in.) [email protected] Page 2 The Cahén Archives™ Self Portrait www.oscarcahen.com 1938 [email protected] C.R.374 Oil on board 35.6 × 25.4 cm (14.0 × 10.0 in.) c o n ten t s 1 5 9 Dedication 7 Jaleen Grove Karen Wilkin Plates Part I 193 Foreword Oscar Cahén: Cahén and Bush: Roald Nasgaard The Early Years 13 Un-Parallel Lives 143 Discovering Oscar Cahén 9 2 6 Jefrey Spalding Cy Strom Contributors 288 Tribute 31 A Crown of Thorns: Plates Part II 257 Critical Observations 291 Religious Iconography Index 296 in the Art of Credits 306 3 Oscar Cahén 155 Jaleen Grove Acknowledgements 311 Oscar Cahén’s Vulgar Modernism 97 7 Adam Welch 10 On Ambivalence: Conservation and 4 “The Warrior” Preservation Gary Michael Dault in Context 175 Cheryle Harrison Boys with Brushes: Art, Techniques, Oscar Cahén, and Conservation 277 Harold Town, 8 Walter Yarwood 123 Richard Rhodes Rebecca Pavitt Oscar Cahén: The Conservation of A Century in Oscar Cahén’s Works the Making 183 on Paper 283 abbreviations: c.a. -
March 2016 Online Sale Catalogue
MARCH 2016 ONLINE SALE CATALOGUE Opens: 03-Mar-2016 04:00:00 PM Estimated closing time: 31-Mar-2016 03:00:00 PM (with 3 minutes extension until no further bids received) Viewing: All works can be viewed on the Internet at www.heffel.com and at Heffel Gallery, 2247 Granville Street, Vancouver, BC, or at Heffel Fine Art Auction House, 13 Hazelton Avenue, Toronto, ON, or at Gallerie Heffel, 1840 rue Sherbrooke Ouest, Montreal, QC, Canada Note: Sale to be held through the Internet at www.heffel.com. Any estimates for this sale are in Canadian Dollars. Telephone and absentee bids accepted. Buyer's Premium 18% Heffel Fine Art Auction House Heffel Gallery Inc. Heffel Fine Art Auctioneers Galerie Heffel Québec Ltée. 2247 Granville Street 13 Hazelton Avenue 451 Daly Avenue 1840 rue Sherbrooke Ouest Vancouver, BC, V6H 3G1 Toronto, ON, M5R 2E1 Ottawa, ON, K1N 6E7 Montreal, QC, H3H 1E4 Phone: 00 1 604 732 6505 Phone: 00 1 416 961-6505 Phone: 00 1 613 230 6505 Phone: 00 1 514 939-6505 Mobile: 00 1 604 418 6505 Fax: 00 1 416 961-4245 Fax: 00 1 613 230 8884 Fax: 00 1 514 939-1100 Fax: 00 1 604 732 4245 Email: [email protected] MARCH 2016 ONLINE SALE CATALOGUE Page: 1 of 65 001 JACK HAMILTON BUSH ARCA CGP CSGA CSPWC OSA P11 1909 - 1977 Canadian Marina oil on board signed and on verso titled on a gallery label and dated summer 1929 8 3/4 x 10 3/4 inches 22.2 x 27.3 centimeters Provenance: Private Collection, Ontario Roberts Gallery, Toronto Private Collection, Toronto Exhibited: Literature: This painting will be included in Sarah Stanner's forthcoming Jack Bush Paintings: A Catalogue Raisonné. -
Canadian Post~War & Contemporary
HEFFEL FINE ART AUCTION HOUSE HEFFEL FINE ART CANADIAN POST~WAR & CONTEMPORARY ART & CONTEMPORARY ART & CONTEMPORARY CANADIAN POST~WAR NOVEMBER 2009 26, VISIT HEFFEL FINE ART AUCTION HOUSE www.heffel.com VANCOUVER • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE ISBN 978~0~9811120~3~9 SALE THURSDAY, NOVEMBER 26, 2009, 4PM, TORONTO CANADIAN POST~WAR AUCTION & CONTEMPORARY ART THURSDAY, NOVEMBER 26, 2009 4:00 PM, CANADIAN POST~WAR & CONTEMPORARY ART 7:00 PM, FINE CANADIAN ART PARK HYATT HOTEL QUEEN’S PARK BALLROOM 4 AVENUE ROAD, TORONTO PREVIEW AT HEFFEL GALLERY, VANCOUVER 2247 GRANVILLE STREET SATURDAY, OCTOBER 31 THROUGH TUESDAY, NOVEMBER 3, 11:00 AM TO 6:00 PM PREVIEW AT GALERIE HEFFEL, MONTREAL 1840 RUE SHERBROOKE OUEST THURSDAY, NOVEMBER 12 THROUGH SATURDAY, NOVEMBER 14, 11:00 AM TO 6:00 PM PREVIEW IN TORONTO 13 & 14 HAZELTON AVENUE SATURDAY, NOVEMBER 21 THROUGH WEDNESDAY, NOVEMBER 25, 11:00 AM TO 6:00 PM THURSDAY, NOVEMBER 26, 10:00 AM TO 12:00 PM HEFFEL GALLERY, TORONTO 13 HAZELTON AVENUE ONTARIO, CANADA M5R 2E1 TELEPHONE 416 961~6505, FAX 416 961~4245 INTERNET: WWW.HEFFEL.COM HEFFEL FINE ART AUCTION HOUSE VANCOUVER • TORONTO • OTTAWA • MONTREAL 2 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. -
Writing & Mapping, Erasure & Disclosure
LANDON MACKENZIE: WRITING & MAPPING, ERASURE & DISCLOSURE By Robin Laurence The work is visual, hopefully sensual, and willfully over the top. I negotiate my way – over time – building the structure of the image. Material evidence of a terrain played against interior levels of the unspoken. I want the effect to parallel my efforts to move, as You do, between the overwhelming nature of the Habitus (everything) and the need to be grounded in some individual shred of agency (something). (1) Palimpsest 1. A parchment from which one text has been removed in order to substitute another. 2. An inscribed slab or sheet of brass which has been turned back to front to hide an old inscription and leave room for a new one. (2) Landon Mackenzie’s art registers complex interactions of idea and influence, knowing and imagining, continuity and rupture. It also grapples with what it is to be -- and to become -- a painter in this time and place. A visit to her Vancouver studios might be titled not only “What Mackenzie Is Doing” but also “Where She Is Coming From” -- and indeed few contemporary artists as readily acknowledge the impact upon their work of their personal, familial, and educational histories. In addition to her large paintings-in- progress, which develop over a prolonged period of thinking and seeing, exploration and invention, under-painting and over-painting and adding and subtracting, her studios are filled with stacks of individual works on paper along with notebooks, sketchbooks, clipping files, and photograph albums. Mackenzie seems to revel in the wealth of experience such images, texts, and keepsakes represent. -
Figure 1 Backlist
Figure 1 Backlist Kim Dorland by Katerina Atanassova, Robert Enright and Jeffrey Spalding "Kim Dorland" explores the mind and work of one of Canada's most intriguing contemporary artists. Named Globe and Mail 'Artist of the Year' in 2013, Dorland has captured the public's imagination with his tour-de-force, visceral creations. His paintings are at once referential, material, psychological, beautiful, and uncomfortable, resulting in a body of work that is seemingly disparate but undeniably connected through its idiosyncratic - and maximal - use of paint in all its forms Author Bio Katerina Atanassova is the chief curator of the McMichael Canadian Art Collection. Since her appointment in 2009, she has led and curated several special exhibitions, among them The Tree: Form and Substance (2011) and You Are Here: Kim Dorland and the Return to Painting (2013). She was also the co-curator for the enormously successful international touring exhibition, Figure 1 Painting Canada: Tom Thomson and the Group of Seven. She is a graduate of On Sale: Oct 3/14 Sofia University and holds an M.A. from the Centre for Mediaeval Studies, 10.35 x 8.81 University of Toronto. She is currently a Ph.D. candidate at the Department of 9781927958254 • $45.00 • cl Art History and Visual Culture at York University, where she is working on Architecture / Landscape urban visuality and the emergence of urban culture in Canada. Robert Enright is the senior contributing editor and film critic for Border Crossings magazine and the University Research Chair in Art Theory and Criticism in the School of Fine Art and Music at the University of Guelph.