Changing Horizons
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Goose Lane Editions Fall 2018 Where to Begin? with a Heartbeat
Goose Lane Editions Fall 2018 Where to begin? With a heartbeat. A word. An image. Fall 2018. A season of provocation, of entertainment, of complete absorption. A season of ideas. And of emotion. “This is where the heart of feminism beats.” — Annie Lennox on Powered by Love This fall our selection of new titles includes books destined for everyone’s reading list: a provocative (and yes, decidedly controversial) book on the myths of mammography by investigative journalist Renée Pellerin; a memoir of a river by one of Canada’s best nature writers, Wayne Curtis; and the first of two volumes on the Great Trail by hiker extraordinaire Michael Haynes. “Blunt, honest and well-researched.” — Flurt on F-Bomb Readers will be entranced by fabled lawman Strother Purcell in Ian Weir’s deadpan revisionist western and pulled into the undertow of history in Paul Carlucci’s ravaged high-rise of the north. In icehouse poetry, renowned poet Patricia Young and first-book author Dominque Bernier-Cormier will encourage readers to cast their gaze on a pungent, pulsating universe. Full stop. And then, with much ado, we’ll unveil a dazzling array of illustrated books, including three distinctive books of photography. ...Everything Remains Raw records the evolution of the Toronto hip hop scene through graffiti, magazine shoots, and behind-the-scenes documentary photographs. The Lost City documents the vanished neighbourhoods of Saint John razed by the progress of “urban development” in arresting, black-and-white photographs by Ian MacEachern. In One Wave, Ned Pratt transforms the Newfoundland landscape into distillations of form and colour — without a hint of nostalgia. -
Jessica Eaton
JESSICA EATON Press Pack 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM JESSICA EATON BORN 1977, Regina, Saskatchewan EDUCATION 2006 BFA Photography, Emily Carr University of Art and Design, Vancouver SOLO & TWO PERSON EXHIBITIONS 2016 M+B, Los Angeles, CA Transmutations, Galerie Antoine Ertaskiran, Montreal, QC 2015 Wild Permutations, Oakville Galleries at Centennial Square, Oakville, ON Custom Colour, Higher Pictures, New York, NY Wild Permutations, MOCA Cleveland, Cleveland, OH 2014 Jessica Eaton: New Works, Jessica Bradley Gallery, Toronto, ON Ad Infinitum, The Photographers’ Gallery/The Hospital Club, London, UK 2013 Flash: Jessica Eaton, California Museum of Photography, Riverside, CA Hyères 2013: International Festival of Fashion and Photography, Hyères, France 2012 Polytopes, M+B, Los Angeles, CA Squeezed Coherent States, Clint Roenisch Gallery, Toronto, ON 2011 Cubes for Albers and LeWitt, Higher Pictures, New York, NY The Whole is Greater Than The Sum of The Parts: Lucas Blalock and Jessica Eaton, Contact Gallery / Contact Photography Festival 2011, Toronto, ON 2010 Strata: New works by Jessica Eaton, Red Bull 381 Projects, Toronto, ON Umbra Penumbra, PUSH Galerie, Montréal, QC 2009 Variables, LES Gallery, Vancouver Photographs, Hunter and Cook HQ, Toronto, ON GROUP EXHIBITIONS 2016 There is nothing I could say that I haven’t thought before, in collaboration with Cynthia Daignault, Stems Gallery, Brussels, Belgium 2015 Russian Doll, M+B, Los Angeles, CA Are You Experienced?, -
Alberta College of Art + Design
Catalyst FALL 2013 art + design in our community and beyond ALBERTA COLLEGE OF ART + DESIGN art + design in our community and beyond ALBERTA COLLEGE OF ART + DESIGN President’s Message 1 On Campus Academic Update 2 ACADSA Show + Sale 2 Nurturing the Creative Entrepreneur – Centre for Creativity + Entrepreneurship 3 White Walls, Infinite Possibilities – Illingworth Kerr Gallery 4 The Art of Learning – Extended Studies 5 Telling ACAD’s Stories SCHOOL OF CRAFT + EMERGING MEDIA Code + Clay– Katrina Chaytor 6 Andy Nichols Photography EDITORIAL PHOTOGRAPHY Ground Control to Major Tom – Catherine Larose 8 Computer Canvases – Paul Robert 10 Brieanne Biblow Alex Middleton Shifting Gears – Natalie Lauchlan 12 Kara Tersen WRITING SCHOOL OF CRITICAL + CREATIVE STUDIES Natalie Sit Zombies, Dinosaurs, Ghosts, Oh My! – Alex Link 14 EDITING A Wicked Problem – John Calvelli 16 GOOD Company Wordplay – Derek Beaulieu 18 DESIGN Molding Theory – Nicole Burisch 20 McAra Printing PRINTING ACAD at a Glance 22 ALBERTA COLLEGE OF ART + DESIGN Telling ACAD’s Stories (continued) 1407 - 14 AVE NW CALGARY, ALBERTA CANADA SCHOOL OF COMMUNICATION DESIGN T2N 4R3 403.284.6238 WWW.ACAD.CA An Unexpected Journey – Wayne Traudt 28 Back to Basics – Ray Ferraro 30 Make Art for your Friends – Geoff McFetridge 32 A Student of the Medium – Tim Okamura 34 SCHOOL OF VISUAL ART 36 COVER PHOTO: Susan Turcot. Hide and A Life Aquatic – Laurel Johannesson Seek (2012). Charcoal on paper, each 39 Finding Home – Marty Kaufman 38 x 53 cm. Courtesy the artist and Illingworth Kerr Gallery. Critic’s Choice – Don Kottmann 40 Presented as part of the exhibition Susan From Pencil to Lens – Yuqi Kang 42 Turcot, Illingworth Kerr Gallery, September 26 to October 26, 2013. -
Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept
DOCUMENT RESUME ED 400 143 RC 020 735 AUTHOR Bagworth, Ruth, Comp. TITLE Native Peoples: Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept. of Education and Training, Winnipeg. REPORT NO ISBN-0-7711-1305-6 PUB DATE 95 NOTE 261p.; Supersedes fourth edition, ED 350 116. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MFO1 /PC11 Plus Postage. DESCRIPTORS American Indian Culture; American Indian Education; American Indian History; American Indian Languages; American Indian Literature; American Indian Studies; Annotated Bibliographies; Audiovisual Aids; *Canada Natives; Elementary Secondary Education; *Eskimos; Foreign Countries; Instructional Material Evaluation; *Instructional Materials; *Library Collections; *Metis (People); *Resource Materials; Tribes IDENTIFIERS *Canada; Native Americans ABSTRACT This bibliography lists materials on Native peoples available through the library at the Manitoba Department of Education and Training (Canada). All materials are loanable except the periodicals collection, which is available for in-house use only. Materials are categorized under the headings of First Nations, Inuit, and Metis and include both print and audiovisual resources. Print materials include books, research studies, essays, theses, bibliographies, and journals; audiovisual materials include kits, pictures, jackdaws, phonodiscs, phonotapes, compact discs, videorecordings, and films. The approximately 2,000 listings include author, title, publisher, a brief description, library -
(Re)Mapping, Grounding, Remembering: a Curatorial Study of Way-Finding and Relationships to Place in Contemporary Indigenous Art Practice
(re)mapping, grounding, remembering: A Curatorial Study of Way-finding and Relationships to Place in Contemporary Indigenous Art Practice by Courtney Miller A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts in Criticism and Curatorial Practice Graduate Gallery, OCAD University, March 7-14, 2020 Toronto, Ontario, Canada, March 2020 © Courtney Miller, 2020 ii (re)mapping, grounding, remembering A thesis exhibition by Courtney Miller Master of Fine Arts Criticism and Curatorial Practice 2020 OCAD University Abstract (re)mapping, grounding, remembering explores how the concept of (re)mapping is communicated in Indigenous contemporary artwork to demonstrate place-making methods and maintain Indigenous presence on land/landscape. (Re)mapping indicates Indigenous perceptions of and connections to ancestral land/landscape through themes of responsibility, reciprocity, place-based language, and intergenerational knowledges. This thesis project involves an exhibition featuring the artworks of Anishinaabe artist Bonnie Devine, Blackfoot/Cree artist Richelle Bear Hat, and Métis artist Katherine Boyer. Through literal, symbolic, and discursive gestures of mapping, the artists contribute to a conversation of re-writing histories, shared memories, complex and enduring relationships pertaining to homeland. iii Acknowledgements I would like to thank my thesis advisor Gerald McMaster and my secondary advisor Selmin Kara for their guidance, my readers Anna Hudson and Johanna Householder, and my previous advisor Suzanne Morrissette. I also would like to thank my husband Zak, my friends, and family for their continuous support. I express my continual appreciation to the artists in my thesis exhibition: Bonnie Devine, Richelle Bear Hat, and Katherine Boyer. -
When Edouard Manet Exhibited in the Conservatory, Critics Accused Him of Making Concessions to the Public. the P
AKIMBLOG VANCOUVER CALGARY PRAIRIES WINNIPEG ONTARIO TORONTO MONTREAL EAST COAST ALL MONTREAL TAMMER ELSHEIKH COETUS FLOREUS A T GALERIE NICOLAS ROBERT August 01, 2018 J’aime 36 When Edouard Manet exhibited In the Conservatory, critics accused him of making concessions to the public. The painting features a welldressed couple in a greenhouse, comically missing each other’s vacant stares and looking rigid amid an explosion of plant life. More recently the “excessively finished” work was read as an “anxious attempt to reconsolidate the visual field in whose disassembly Manet had already participated.” For art historian Jonathan Crary, the malaise of modernity is signalled in the “fraudulent earthly paradise” of a greenhouse. Coetus Floreus at Galerie Nicolas Robert might also be mistaken for a conservative display of skillfully rendered flowers, figures, and faces. Continuities between the honeymoon phase of European modernity and our more circumspect latecapitalist era appear throughout the exhibition. But if the motif of flowers was used by Manet to stage a conflict between nature and culture, this group exhibition exposes our tendency nowadays to recode nature as culture. Lorna Bauer, The Westmount Conservatory and Greenhouse, 2018, inkjet print A provocative link is made between Manet’s century and our own in Lorna Bauer’s The Westmount Conservatory and Greenhouse. Bauer began photographing the iconic Westmount building between its renovations while preparing for a residency in Paris to study the green spaces of Baron Haussmann’s 19th Century urban renewal program. The photo’s middle ground is occupied by zinnia flowers visible through paint, plaster, or milkshake spatter on a pane of glass. -
Immortalityvulnerability
Pwww.poetsandartists.comA Issue #62, April 2015 IMMORTALITYvulnerability GeffreyDavis GOSS183 Publishing Group Didi Menendez, DenisPeterson Publisher, Curator, Editor Sergio Gomez, Curator MichelleDoll www.poetsandartists.com DebraBalchen Issue #62, April 2015 2015© PoetsArtists Contributors YukiToy SergioGomez DidiMenendez VictoriaSelbach DaliahAmmar CesarConde VincentKatz JoycePolance ChrisLeib TimothyRobertSmith JohnWalker www.poetsandartists.com JamesNeedham PThis is PoetsArtistsA third year showing at the Zhou B Art Center. Sergio Gomez and I start planning RonAndrola the shows a year in advance. The hardest part in planning the show is coming up with a theme. We NadineRobbins start to discuss early so as to give the artists and poets invited enough time to create their works for JavierChavira the publication and group show. JeffBess It is my pleasure to continue my third collaboration with This last year Nadine Robbins had a photo curator Didi Menendez in this exhibition as part of the Zhou shoot with Howard Tullman who is a well known MatthewHittinger B Art Center program of exhibitions. The title Immortality entrepreneur and art collector in Chicago and who and Vulnerability was given to all the invited artists about has always been very supportive of PoetsArtists. ReinerHansen one year in advance. Artists and poets were selected from Nadine Robbins initiated the shoot since her work across the country to participate. Each artist and poet was is in his collection and because she was working AnekaIngold asked to respond to this theme from their own point of on a new series of paintings and thought Howard view and with their own visual language and writing style. would make a great subject. -
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies a Thesis Submit
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Art and Art History University of Saskatchewan Saskatoon By Kim Ennis © Copyright Kim Ennis, April 2012. All rights reserved. Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of Art and Art History University of Saskatchewan 3 Campus Drive Saskatoon, Saskatchewan S7N 5A4 Canada i Abstract Landscape painting and formalist painting, both terms taken in their broadest possible sense, have been the predominant forms of painting on the prairie, particularly in Saskatchewan, for several decades. -
Annual Report Front Cover: Finn O’Hara (B
2016–2017 | Annual Report Front cover: Finn O’Hara (b. 1972) in collaboration with Steve Driscoll (b. 1980), The only real thing in his life was his dreams, 2017, digital chromogenic print, 114.3 x 152 cm, Courtesy of the artists 2016–2017 | Annual Report 2016–2017 | Annual Report Contents McMichael Philosophy 1 McMichael Canadian Art Collection: A Year in Review 2 Highlights from 12 Months of Extraordinary 6 Art and Experiences On Display from the McMichael Collection 10 Special Exhibitions 14 Loans 18 Acquisitions l Permanent Collection 20 A Tribute to Our Donors 24 Board of Trustees 28 McMichael Canadian Art Foundation 28 McMichael Honorary Council 28 Staff 28 McMichael Volunteer Committee 28 Financial Summaries and Statements 29 McMICHAEL PHILOSOPHY McMichael Vision To be recognized as an extraordinary place to visit and explore Canadian culture and identity, and the connections between art and nature. “…extraordinary place to visit…” A physical and virtual gathering place that provides an engaging and continually changing experience to targeted audiences and communities, driving new and repeat visits. “…explore Canadian culture and identity…” Enabling our visitors to understand who we are as Canadians and where we fit in the global context over time, through the medium of art. “…connections between art and nature.” Bringing together and integrating the visual arts with the natural world and creating a cultural landscape uniting the visual arts with the natural world. McMichael Mission To interpret and promote Canadian, Indigenous, and Inuit art, to attract local, national, and international audiences. McMichael Values Excellence We are the best in our sector, are leaders in our field, and have achieved a national and global reputation. -
LPG Litdistco Catalogue Fall 2021
Dear Booksellers, Librarians, and Friends of the LPG, Thank you for your on-going support of Canadian independent literature and the publishers that make up the Literary Press Group. We’re looking forward to getting together again to celebrate books as a community. Here are a few updates about our Sales Collective as we head into the second half of 2021: • We are pleased to have long-time LPG member, DC Books, join the LPG Sales Collective. We are also welcoming new member, Renaissance Press of Gatineau, QC, as of June 1, 2021. • Please note that Insomniac Press is no longer represented through the LPG’s Sales Collective. • Please note that no Fall titles were announced for Bluemoon Publishers, DC Books or Stonehouse Publishing. Happy Reading, Tan Light Sales Manager ___________________ The Literary Press Group of Canada 234 Eglinton Ave. E, Suite 401 Toronto, ON M4P 1K5 e: [email protected] p: 416.483.1321 x4 1 LPG Sales Collective Fall 2021 LitDistCo Clients Table of Contents 4 Beach Blonde by John Reynolds 5 Frame by Frame: An Animator's Journey by Co Hoedeman 6 Miraculous Sickness by ky Perraun 7 Coming to Canada by Starkie Mak 8 Gibbous Moon by Dennis Cooley, Michael Matthews 9 Green Parrots in my Garden: Poems from the Arab Middle East by Jane Ross 10 Papillons sur le toit de ma patrie by Sanaz Safari, Alice Anugraham 11 Beyond the Terrazzo Veranda by Morra Norman 12 Breaking Words: Literary Confessions by George Melnyk 13 You have been Referred: My Life in Applied Anthropology by Michael Robinson 14 Enormous Hill, The by Judd Palmer, -
Landscapes and Silence Part I
Landscapes and Silence Part I Terry Billings Gabriela García-Luna Risa Horowitz Zachari Logan Sheila Spence Curated by Wayne Baerwaldt with 21C Curators and Tanya Abraham A collateral exhibition of the 2016 Kochi-Muziris Biennale December 11th, 2016 to March 29th, 2017 Kashi Art Gallery: Town House Quiros Street, Fort Kochi, Kochi 682001 Kerala, India Landscapes and Silence, Part I © Landscapes and Silence Group, 2016 ISBN 978-0-9958798-1-2 (paperback) Landscapes and Silence It is with the collaborative support oF Edgar Pinto and exhibition co-curator Tanya Abraham oF Kashi Art Gallery and The Art Outreach Society (TAOS) in Kochi, Kerala, that the exhibition Landscapes and Silence has been realized. Mixed media art- works by fve Canadian artists are presented with those of their Indian counterparts to allow the artists and their audience to contemplate diverse concepts oF silence in rapidly changing natural and rural landscapes. Landscapes and Silence Features recent and new works by Canadian artists Terry Billings, Gabriela García-Luna, Risa Horowitz, Zachari Logan, and Sheila Spence. For centuries artists have represented the idyllic peace and quiet oF the countryside and, For the most part, their artistic output supported the moral, aesthetic, and spiritual values oF a largely urban audience For art. Studies oF the landscape and its traditional sense of quietude associated with co-dependent fora and fauna were widely recognized as portals to the sublime. Times have changed. The landscape becomes an elusive Other, and artists bring new forms of critique and hybrid me- dia to represent landscapes and their changing values and meanings. -
Neopriest Layout
POP REALISTS INTELLECTUALLY ENGAGED IN STORY TELLING NEOPRIEST HEADBONES GALLERY Artist Catalogue: Headbones Gallery - Neopriest Copyright © 2008, Headbones Gallery Neopriest essay & commentaries by Julie Oakes Copyright © 2006-08, Julie Oakes Neopriest essay by Ashley Johnson Chapter 12: Excerpt from review in Canadian Art, Julie Oakes: Lehmann Leskiw Fine Art by Ashley Johnson, Spring 2007, Volume 24, Number 1, page 109 Copyright © 2007-08, Ashley Johnson Chapter 13: Excerpt from “Figuring Compassion - The Healing Art of Julie Oakes” by James D. Campbell In artist catalogue “The Buddha Composed” produced by Galerie Samuel Lallouz Copyright © 2008, James D. Campbell Artwork Copyright © 2001-2008 Aleks Bartosik, Osvaldo Ramirez Castillo, Billy Copley, Scott Ellis, Scott McEwan, Robert Farmer, Ed Giordano Jr, Ashley Johnson, Zachari Logan, Jesse McCloskey, Julie Oakes, Srdjan Segan and Jenny WingYee Tong Rich Fog Micro Publishing, printed in Toronto, 2008 Layout and Design, Richard Fogarty Printed on the Ricoh SP C811DN All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 copyright act or in writing from Headbones Gallery. Requests for permission to use these images should be addressed in writing to the artist, c/o Headbones Gallery. www.headbonesgallery.com ISBN: 978-1-926605-01-2 RICH FOG Micro Publishing Toronto Canada POP REALISTS INTELLECTUALLY ENGAGED IN STORY TELLING NEOPRIEST THE BOOK OF HEADBONES, CALLED NEOPRIEST CHAPTER 1 1 Neopriest - New Pop Realism Intellectually Engaged in Story Telling 2 NEOPRIEST is: An assertion of identity A declaration of aesthetic preference An acknowledgement of accomplished practice An endorsement of visual style An exploration into the sublime A prospect for a potent seduction 3 ¶ Neopriest is about a journey that has provided insights and created the desire to broaden the scope of Headbones Gallery.