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The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos. -
Early Twentieth-Century Artists' Paints in Toronto: Archival and Material
Early Twentieth-Century Artists’ Paints in Toronto: Archival and Material Evidence Kate Helwig, Elizabeth Moffatt, Marie-Claude Corbeil and Dominique Duguay Journal of the Canadian Association for Conservation (J.CAC), Volume 40 © Canadian Association for Conservation, 2015 This article: © Canadian Conservation Institute, 2015. Reproduced with the permission of the Canadian Conservation Institute, Department of Canadian Heritage. J.CAC is a peer reviewed journal published annually by the Canadian Association for Conservation of Cultural Property (CAC), 207 Bank Street, Suite 419, Ottawa, ON K2P 2N2, Canada; Tel.: (613) 231-3977; Fax: (613) 231-4406; E-mail: [email protected]; Web site: http://www.cac-accr.ca. The views expressed in this publication are those of the individual authors, and are not necessarily those of the editors or of CAC. Journal de l’Association canadienne pour la conservation et la restauration (J.ACCR), Volume 40 © l’Association canadienne pour la conservation et restauration, 2015 Cet article : © l’Institut canadien de conservation, 2015. Reproduit avec la permission de l’Institut canadien de conservation, Ministère du Patrimoine canadien. Le J.ACCR est un journal révisé par des pairs qui est publié annuellement par l’Association canadienne pour la conservation et la restauration des biens culturels (ACCR), 207, rue Bank, bureau 419, Ottawa ON K2P 2N2, Canada; Téléphone : (613) 231-3977; Télécopieur : (613) 231-4406; Adresse électronique : [email protected]; Site Web : http://www.cac-accr.ca. Les opinions -
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. -
DAVEANDJENN Whenever It Hurts
DAVEANDJENN Whenever It Hurts January 19 - February 23, 2019 Opening: Saturday January 19, 3 - 6 pm artists in attendance detail: “Play Bow” In association with TrépanierBaer Gallery, photos by: M.N. Hutchinson GENERAL HARDWARE CONTEMPORARY 1520 Queen Street West, Toronto, M6R 1A4 www.generalhardware.ca Hours: Wed. - Sat., 12 - 6 pm email: [email protected] 416-821-3060 DaveandJenn (David Foy and Jennifer Saleik) have collaborated since 2004. Foy was born in Edmonton, Alberta in 1982; Saleik in Velbert, Germany, in 1983. They graduated with distinction from the Alberta College of Art + Design in 2006, making their first appearance as DaveandJenn in the graduating exhibition. Experimenting with form and materials is an important aspect of their work, which includes painting, sculpture, installation, animation and digital video. Over the years they have developed a method of painting dense, rich worlds in between multiple layers of resin, slowly building up their final image in a manner that is reminiscent of celluloid animation, collage and Victorian shadow boxes. DaveandJenn are two times RBC Canadian Painting Competition finalists (2006, 2009), awarded the Lieutenant Governor of Alberta’s Biennial Emerging Artist Award (2010) and longlisted for the Sobey Art Award (2011). DaveandJenn’s work was included in the acclaimed “Oh Canada” exhibition curated by Denise Markonish at MASS MoCA – the largest survey of contemporary Canadian art ever produced outside of Canada. Their work can be found in both private and public collections throughout North America, including the Royal Bank of Canada, the Alberta Foundation for the Arts, the Calgary Municipal Collection and the Art Gallery of Hamilton. -
MUSICAL COMPOSITION Through the Art of BERTRAM BROOKER Click the Right Corner to MUSICAL COMPOSITION BERTRAM BROOKER Through the Art of Return to Table of Contents
TEACHER RESOURCE GUIDE FOR GRADES 2–12 LEARN ABOUT MUSICAL COMPOSITION through the art of BERTRAM BROOKER Click the right corner to MUSICAL COMPOSITION BERTRAM BROOKER through the art of return to table of contents TABLE OF CONTENTS PAGE 1 PAGE 2 PAGE 3 RESOURCE WHO WAS TIMELINE OF OVERVIEW BERTRAM BROOKER? HISTORICAL EVENTS AND ARTIST’S LIFE PAGE 4 PAGE 8 PAGE 10 LEARNING CULMINATING HOW BERTRAM ACTIVITIES TASK BROOKER MADE ART: STYLE & TECHNIQUE PAGE 11 READ ONLINE DOWNLOAD ADDITIONAL BERTRAM BROOKER: BERTRAM BROOKER RESOURCES LIFE & WORK BY IMAGE FILE JAMES KING EDUCATIONAL RESOURCE MUSICAL COMPOSITION through the art of BERTRAM BROOKER RESOURCE OVERVIEW This teacher resource guide has been designed to complement the Art Canada Institute online art book Bertram Brooker: Life & Work by James King. The artworks within this guide and the images required for the learning activities and culminating task can be found in the Bertram Brooker Image File provided. Throughout his career Bertram Brooker (1888–1955) looked to capture the ephemeral and magical qualities of music in his paintings. Several of his works explore specific pieces of music or attempt to convey an experience of sound on the canvas. In this guide the art of Brooker is used to explore musical forms, terminology, and structure, and it guides students in activities that allow them to find connections between visual art and music and to build an understanding and appreciation of both disciplines. Curriculum Connections Grades 2–12 Music Grades 2–12 Visual Arts Grades 11–12 Composition and Production Themes Composition The elements of music Sound paintings Soundscapes Visual interpretations Teaching Exercises The exercises in this guide invite students to explore connections between visual art and music. -
BRENDAN FERNANDES B
BRENDAN FERNANDES b. 1979, Nairobi, Kenya lives and works in Chicago, IL Education 2006 – 2007 Whitney Museum oF American Art, Independent Study Program, New York, NY 2003 – 2005 The University oF Western Ontario, Master’s of Fine Arts in Visual Arts, London, ON 1998 – 2002 York University, Honors, Bachelor oF Fine Arts in Visual Arts, Toronto, ON Selected Solo Exhibitions 2021 Inaction…The Richmond Art Gallery. Richmond, BC In Pose. The Art Gallery in Ontario. Toronto, ON 2020 Art By Snapchat. Azienda SpecialePalaexpo. Rome, Italy. Brendan Fernandes: Bodily Forms, Chrysler Art Museum We Want a We, Pearlstein Gallery, Drexel University, Philadelphia, PA In Action. Tarble Art Center, Eastern Illinos University, Charleston, IL 2019 Restrain, moniquemeloche, Chicago, IL In Action, Zilkha Gallery, Wesleyan University, Middletown, CT (will travel to Tarble Arts Center, Eastern Illinois University, Charleston, IL, 2020) Contract and Release, The Noguchi Museum, Long Island City, NY Call and Response, Museum oF Contemporary Art, Chicago, IL (perFormance series) Free Fall. The Richmond Art Gallery. Richmond, BC Free Fall 49. The Smithsonian American Art Museum. Washington, DC Ballet Kink. The Guggenheim Museum. New York, NY 2018 The Living Mask, DePaul University Art Museum, Chicago, IL On Flashing Lights, Nuit Blanche, Toronto, ON (performance) Open Encounter, The High Line, New York, NY (perFormance) The Master and Form, The Graham Foundation, Chicago, IL To Find a Forest, Art Gallery oF Greater Victoria, Victoria, BC (perFormance) SaFely (Sanctuary). FOR-SITE Foundation. San Francisco, CA 2017 Art by Snapchat, Museum of Contemporary Art, Chicago, IL (performance) Move in Place, Anna Leonowens Gallery, NSCAD University, Halifax, NS Free Fall 49, The Getty, Los Angeles, CA (performance) From Hiz Hands, The Front, Eleven Twenty Projects, BuFFalo, NY I’M DOWN, 18th Street Arts Center, Santa Monica, CA Clean Labor, curated by Eric Shiner, Armory Fair, New York, NY (performance) Lost Bodies. -
The Great Canadian Art Exportation: Oh, Canada and the Myth of the White North Natasha Chaykowski
Document généré le 30 sept. 2021 06:04 esse arts + opinions The Great Canadian Art Exportation: Oh, Canada and the Myth of the White North Natasha Chaykowski Reconstitution Re-enactment Numéro 79, automne 2013 URI : https://id.erudit.org/iderudit/69765ac Aller au sommaire du numéro Éditeur(s) Les éditions esse ISSN 0831-859X (imprimé) 1929-3577 (numérique) Découvrir la revue Citer cet article Chaykowski, N. (2013). The Great Canadian Art Exportation: Oh, Canada and the Myth of the White North. esse arts + opinions, (79), 70–71. Droits d'auteur © Natasha Chaykowski, 2013 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CONCOURS JEUNES CRITIQUES YOUNG CRITICS COMPETITION 70 70 NATASHA CHAYKOWSKI THE GREAT CANADIAN ART EXPORTATION: OH, CANADA AND THE MYTH OF THE WHITE NORTH OF THE WHITE NORTH ART EXPORTATION: OH, CANADA AND THE MYTH THE GREAT CANADIAN NATASHA CHAYKOWSKI Maple syrup, hockey, poutine, caribou, and Timbits: this is the stuff of known artists, including Michael Snow, Shary Boyle, Marcel Dzama, Michel Denise Markonish’s Canada.1 Markonish, a curator at the Massachusetts de Broin, and Douglas Coupland were exhibited alongside artists akin to Museum of Contemporary Art (MASS MoCA), recently organized a Amelie Atkins, Eryn Foster, Craig Leonard, and Clint Neufeld, whose prac- monumental survey exhibition of Canadian art, aptly titled Oh, Canada: tices, while locally acclaimed, have yet to gain exposure internationally. -
European Ways of Talking About the Art of Northwest Coast First Nations
EUROPEAN WAYS OF TALKING ABOUT THE ART OF THE NORTHWEST COAST FIRST NATIONS F. Graeme Chalmers Department of Curriculum Studies Faculty of Education University of British Columbia Vancouver, British Columbia Canada, V6T 1Z4 Abstract / Resume The ways in which we, Aboriginal and non-Aboriginal people alike, view the Aboriginal art of the Northwest Coast, have been profoundly affected by European accounts of the art. For a long time Northwest Coast art was compared to European art and treated as a quaint variant of “real” art. In recent decades we have begun to view this work as art by itself, that is art which is inherently valuable. Les façons dont nous, les autochtones et les allogènes aussi, voyons l'art autochtone de la côte nord-ouest ont été profondément influencées par les exposés européens sur l'art. On compare, depuis longtemps, l'art de la côte nord-ouest avec l'art européen et considère le premier comme une variante bizarre du “vrai” art. Au cours des dernières décennies, on a commencé à considérer ce travail comme un art en soi, c'est-à-dire comme un art qui est de grande valeur profonde. 114 Graeme Chalmers In his book, Textual Spaces: Aboriginality and Cultural Studies, the Australian Stephen Muecke argued that European ways of talking about Aboriginal people limit ways of knowing what Aborigines might be (1992:20). Canadian and international views, as well as the understandings of Aboriginal peoples themselves, of First Nations art on the Northwest Pacific Coast have been profoundly and similarly colored by value-laden European accounts and definitions. -
History of Art Libraries in Canada/Histoire Des Bibliotèques D
History of Art Libraries in Canada Histoire des bibliothèques d’art au Canada www.arliscanada.ca/hal Sponsored by / Commandité par: ESSAYS IN THE HISTORY OF ART LIBRARIANSHIP IN CANADA National Gallery of Canada Library and Archives Musée des beaux-arts du Canada Bibliothèque et Archives ESSAIS SUR L’HISTOIRE DE LA BIBLIOTHÉCONOMIE D’ART AU CANADA ARLIS/NA ESSAYS IN THE HISTORY OF ART LIBRARIANSHIP IN CANADA ESSAIS SUR L’HISTOIRE DE LA BIBLIOTHÉCONOMIE D’ART AU CANADA Table of Contents Table des matières Introduction Reflections Through the Looking Glass: Murray Waddington The Story of the Fine Arts Library at the Uni- versity of British Columbia Introduction Diana Cooper, Peggy McBride Murray Waddington Traduit par Denise Loiselle A Library for Artists: The Early Years of The Banff Centre Library ARLIS/Canada: James Rout The First Ten Years Jonathan Franklin The Whyte Museum of the Canadian Rockies Bob Foley ARLIS/Canada : les dix premières années The Alberta College of Art + Design: Jonathan Franklin Luke Lindoe Library Traduit par Denise Loiselle Christine Sammon A History of the Canadian Art Libraries Section The Architecture/Fine Arts Library, Fort Garry (CARLIS) Campus, University of Manitoba Melva J. Dwyer Liv Valmestad Hidden Collections: Held in Trust: The Invisible World of English Canadian Book The National Gallery of Canada Library Illustration and Design and Archives Randall Speller Jo Nordley Beglo L’histoire du livre d’artiste au Québec Pour le compte des Canadiens : Sylvie Alix La Bibliothèque et les Archives du Musée des beaux-arts du Canada A History of the Artist's Book in Québec Jo Nordley Beglo Sylvie Alix Traduit par Denise Loiselle Translated by Mark Dobbie “So Hopefully and Imaginatively Founded”: The Vancouver Art Gallery and the Machinery The CCA Library to 1998 of Happiness Rosemary Haddad Cheryl Siegel Le Centre d’information Artexte : Who Was Who: un mandat, et un parcours, atypiques Biographies of Canadian Art Librarians Danielle Léger Steven C. -
The Group of Seven, AJM Smith and FR Scott Alexandra M. Roza
Towards a Modern Canadian Art 1910-1936: The Group of Seven, A.J.M. Smith and F.R. Scott Alexandra M. Roza Department of English McGill University. Montreal August 1997 A Thesis subrnitted to the Facdty of Graduate Studies and Researçh in partial fiilfiliment of the requirements of the degree of Master of Arts. O Alexandra Roza, 1997 National Library BiMiotheque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellingtocl Ottawa ON KIA ON4 OttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aliowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distnibuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nim, de reproduction sur papier ou sur 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 othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. iii During the 19 los, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would afhn Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be- For the majority of Canadian painters, wrïters, critics and readers, the fbture of the Canadian arts, especially poetry and painting, lay in Canada's past. -
Early Manufacture of Artists' Materials in Canada: a History of Canadian
Early Manufacture of Artists’ Materials in Canada: A History of Canadian Art Laboratory Barbara Klempan Journal of the Canadian Association for Conservation (J. CAC), Volume 37 © Canadian Association for Conservation, 2012 This article: © Barbara Klempan, 2012. Reproduced with the permission of Barbara Klempan. J. CAC is a peer reviewed journal published annually by the Canadian Association for Conservation of Cultural Property (CAC); http://www.cac-accr.ca/. The views expressed in this publication are those of the individual authors, and are not necessarily those of the editors or of CAC. Journal de l'Association canadienne pour la conservation et la restauration (J. ACCR), Volume 37 © l'Association canadienne pour la conservation et la restauration, 2012 Cet article : © Barbara Klempan, 2012. Reproduit avec la permission de Barbara Klempan. Le Journal de l’ACCR est une revue arbitrée qui est publiée annuellement par l'Association canadienne pour la conservation et la restauration des biens culturels (ACCR); http://www.cac-accr.ca. Les opinions exprimées dans la présente publication sont celles des auteurs et ne reflètent pas nécessairement celles de la rédaction ou de l'ACCR. 41 Early Manufacture of Artists’ Materials in Canada: A History of Canadian Art Laboratory Barbara Klempan Art Conservation Program, Queen’s University, Kingston, Ontario K7L 3N6, Canada; [email protected] Canadian Art Laboratory was a notable Canadian manufacturer and international supplier of artists’ materials during the early- to mid- twentieth century. Founded in Toronto in the early 1930s by chemical engineer Henry James Goulding Carter, this firm filled a void in the manufacturing sector of artists’ materials in Canada. -
John Will CV July 16
WILDING CRAN GALLERY John Will CV Born: Waterloo, Iowa-1939 Education BA-University of Northern Iowa-1961 MFA-University of Iowa-1963 Fulbright Fellow-Amsterdam-1963-64 Ford Foundation Printer Fellow-Tamarind, 1970-71 Awards Two Canada Council A Grants ('99 & '00) Alberta Foundation for the Arts Grant ('08) Royal Canadian Artists member ('09) Public Collections University of California- Riverside Springfield Art Museum Hamline University University of Alberta Art Institute of Chicago Nickle Arts Museum New York Public Library University of Alberta Art Gallery of Ontario Luther College Vancouver Art Gallery University of Wisconsin-Stout Art Gallery of Brant University of Lethbridge Le Musee International de L'Image Utah State University Museum of New Mexico Columbia Green University Glenbow Museum Canada Council Art Bank London Regional Art Gallery Rockford College Wichita Museum Banff Centre Dennison University Art Gallery of Windsor Indiana University Alberta Art Foundation Norman MacKenzie Art Galley Art Galley of Nova Scotia Winnipeg Art Gallery Tom Thomson Memorial Gallery University of South Carolina Mendel Art Galley Edmonton Art Gallery North Texas State University Calgary City Jail Calgary Civic collection Alberta Foundation For the Arts Sugar Estate Foundation One Person Exhibitions 2014 "Ego is My Ammo". Jarvis Hall Fine Art, Calgary AB 2012 “Nothing But Trouble”, Jarvis Hall Fine Art, Calgary, AB 2011 “Devolution to Nothing”, Jarvis Hall Fine Art, Calgary, AB 2010 Glenbow Museum, Curated by Catherine Ylitalo 2007 White Columns Gallery, New York (with Jeff Funnell), Curated by Matthew Higgs Studio Voltaire, London (with Jeff Funnell) Curated by Matthew Higgs YYZ Gallery, Toronto Portrait Estate Gallery, Calgary Portrait Estate Gallery, Calgary (catalogue) 2006 Carpet and Toast Galley, Calgary 2001 The Art Gallery of Calgary (two shows) (catalogue) The Nickle Arts Museum, Calgary, (catalogue) The University of Lethbridge, Lethbridge Alberta Kitchener-Waterloo Art Gallery, Kitchener, Ontario Mendal Art Gallery, Saskatoon, Sask.