The Left Atrium
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[Carr – Bibliography]
Bibliography Steven C. McNeil, with contributions by Lynn Brockington Abell, Walter, “Some Canadian Moderns,” Magazine of Art 30, no. 7 (July 1937): 422–27. Abell, Walter, “New Books on Art Reviewed by the Editors, Klee Wyck by Emily Carr,” Maritime Art 2, no. 4 (Apr.–May 1942): 137. Abell, Walter, “Canadian Aspirations in Painting,” Culture 33, no. 2 (June 1942): 172–82. Abell, Walter, “East Is West – Thoughts on the Unity and Meaning of Contemporary Art,” Canadian Art 11, no. 2 (Winter 1954): 44–51, 73. Ackerman, Marianne, “Unexpurgated Emily,” Globe and Mail (Toronto), 16 Aug. 2003. Adams, James, “Emily Carr Painting Is Sold for $240,000,” Globe and Mail (Toronto), 28 Nov. 2003. Adams, John, “…but Near Carr’s House Is Easy Street,” Islander, supplement to the Times- Colonist (Victoria), 7 June 1992. Adams, John, “Emily Walked Familiar Routes,” Islander, supplement to the Times-Colonist (Victoria), 26 Oct. 1993. Adams, John, “Visions of Sugar Plums,” Times-Colonist (Victoria), 10 Dec. 1995. Adams, Sharon, “Memories of Emily, an Embittered Artist,” Edmonton Journal, 27 July 1973. Adams, Timothy Dow, “‘Painting Above Paint’: Telling Li(v)es in Emily Carr’s Literary Self- Portraits,” Journal of Canadian Studies 27, no. 2 (Summer 1992): 37–48. Adeney, Jeanne, “The Galleries in January,” Canadian Bookman 10, no. 1 (Jan. 1928): 5–7. Art Gallery of Greater Victoria, Oil Paintings from the Emily Carr Trust Collection (ex. cat.). Victoria: Art Gallery of Greater Victoria, 1958. Art Gallery of Ontario, Emily Carr: Selected Works from the Collection of the Vancouver Art Gallery (ex. cat.). Toronto: Art Gallery of Ontario, 1974. -
Canadian, Impressionist & Modern
CanAdiAn, impressionist & modern Art Sale Wednesday, december 2, 2020 · 4 pm pt | 7 pm et i Canadian, impressionist & modern art auCtion Wednesday, December 2, 2020 Heffel’s Digital Saleroom Post-War & Contemporary Art 2 PM Vancouver | 5 PM Toronto / Montreal Canadian, Impressionist & Modern Art 4 PM Vancouver | 7 PM Toronto / Montreal previews By appointment Heffel Gallery, Vancouver 2247 Granville Street Friday, October 30 through Wednesday, November 4, 11 am to 6 pm PT Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Monday, November 16 through Saturday, November 21, 11 am to 6 pm ET Heffel Gallery, Toronto 13 Hazelton Avenue Together with our Yorkville exhibition galleries Thursday, November 26 through Tuesday, December 1, 11 am to 6 pm ET Wednesday, December 2, 10 am to 3 pm ET 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, telephone & online 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. 2247 Granville Street, Vancouver, British Columbia V6H 3G1 Our Annual Subscription Form can be found on page 103 of this Telephone 604-732-6505, Fax 604-732-4245 catalogue. -
THE NEW VANCOUVER ART GALLERY a Case for Support
THE NEW VANCOUVER ART GALLERY A Case for Support A GATHERING PLACE for Transformative Experiences with Art Art is one of the most meaningful ways in which a community expresses itself to the world. Now in its ninth decade as a significant contributor The Gallery’s art presentations, multifaceted public to the vibrant creative life of British Columbia and programs and publication projects will reflect the Canada, the Vancouver Art Gallery has embarked on diversity and vitality of our community, connecting local a transformative campaign to build an innovative and ideas and stories within the global realm and fostering inspiring new art museum that will greatly enhance the exchanges between cultures. many ways in which citizens and visitors to the city can experience the amazing power of art. Its programs will touch the lives of hundreds of thousands of visitors annually, through remarkable, The new building will be a creative and cultural mind-opening experiences with art, and play a gathering place in the heart of Vancouver, unifying substantial role in heightening Vancouver’s reputation the crossroads of many different neighbourhoods— as a vibrant place in which to live, work and visit. Downtown, Yaletown, Gastown, Chinatown, East Vancouver—and fuelling a lively hub of activity. For many British Columbians, this will be the most important project of their Open to everyone, this will be an urban space where museum-goers and others will crisscross and encounter generation—a model of civic leadership each other daily, and stop to take pleasure in its many when individuals come together to build offerings, including exhibitions celebrating compelling a major new cultural facility for its people art from the past through to artists working today— and for generations of children to come. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Marrying the Coats Mentor Times Two Lifeworks
The Left Atrium training she observed the energy and ef- Lifeworks ficiency her two careers provided: “diver- sions made studies easier, not more diffi- cult.” Like Anton Chekhov, who saw Marrying the coats medicine as his lawful wife and literature as his mistress, Levine likens a career in Until Jan. 16, 2000, the Confederation Centre Art Gallery and Museum in Char- music to climbing in sand, whereas medi- lottetown showcases traditional and modern designs and techniques in rug hook- cine is always there, reliable. Both careers ing, sometimes called North America’s “one indigenous folk art.” The Marrying of are about communicating, and she suc- the Coats features the work of rug hookers from cessfully fuses them into a rewarding life. across Prince Edward Island, including 80-year- The section on spirituality is timely, old Anna MacLeod, who in her 60 years of moving and courageous. In the 19th rug hooking has carried on the tradition of century, Oliver Wendell Holmes ar- “the marrying of the coats,” a process in gued strongly for a rational base for which torn-up coats are dyed to provide medicine that excluded religion. Today a consistent background colour for large in Boston, Ray Hammond and Gloria rugs. Joe Smith and the Spectacular Brennan White-Hammond, with a mission to Rug features arguably one of the most im- Alberta Som “serve others as we are led by the Holy pressive rugs ever created on the Island. In Spirit,” have transcended barriers of Bricàbra Nancy Edell of Nova Scotia com- class, gender and race to produce a ers bines rug hooking with other media, including modern-day miracle. -
Canadian Art As Historical Act
Galerie de l’UQAM unveils its new virtual exhibition, 150 Years | 150 Works: Canadian Art as Historical Act Direction: Louise Déry Curation and coordination: Josée Desforges Online starting May 2, 2018 Launch reception: May 2, 2018, 5 p.m., Galerie de l’UQAM 150ans150oeuvres.uqam.ca Montréal, April 16, 2018 – On May 2, Galerie de l’UQAM will launcH its brand new virtual exHibition. 3 years in the making, 150 Years | 150 Works: Canadian Art as Historical Act brings together the work of more tHan 150 artists and will be online for the next five years. The unveiling will be highlighted during a festive reception at Galerie de l’UQAM on May 2, starting at 5 p.m. The exhibition is produced by Galerie de l’UQAM witH tHe support of tHe Virtual ExHibits Investment Program, Virtual Museum of Canada. It joins The Painting Project: A Snapshot of Painting in Canada, another virtual exHibition launcHed by Galerie de l’UQAM in 2013, online until November 2018. The exhibition The virtual exHibition 150 Years | 150 Works: Canadian Art as Historical Act presents art as an integral part of Canada’s social and political History. It looks at Canada tHrougH works tHat Have in some way shaped or changed tHe country’s History over tHe past century and a Half. Most but not all of tHe works in tHis panorama are presented according to tHeir year of production: here and there, diverging from chronological order serves to recast historical relationships and challenge traditional perceptions. Drawn from tHe collections of major museums, university galleries and private collections, the exhibited works include both well-known icons and little-known surprises. -
Winter 2013 Volume 27
YOUR GUIDE TO BOOKS & AUTHORS 25 FREE th Anniversary Year BC BOOKWORLD Douglas Coupland’s bizarre, new novel called Worst. Person. Ever. precedes his one-man show at the Vancouver Art Gallery. UNCOUTH #40010086 Doug does Borat. PHOTO See feature review by AGREEMENT MAIL John Moore, page 9 LEVERTON DAVID PUBLICATION UNPRECEDENTED ARTHUR ERICKSON: CONCRETE PHILOSOPHER P.17 EMILY CARR & EDYTHE: FRIENDSHIP P. 2 7 LESLIE HILL: SURVIVING GRIEF P.19 VOL. 27 • NO. 4 WINTER 2013-2014 OUR NOBEL PRIZE WINNER: ALICE MUNRO P.3 2 BC BOOKWORLD WINTER 2013-2014 BCTOP* SELLERS PEOPLE The Deerholme Mushroom Book: From Foraging to Feasting (Touchwood Tofino translator helps Editions $29.95) by Bill Jones Tilly: a Story of Hope revive the smouldering & Resilience (Sono Nis Press $19.95) by Monique Gray Smith stories of Patagonia Tax Me I’m Canadian! he most endangered indigenous people in the world, the Yagan, are also the A taxpayer’s guide to southernmost. For uncounted centuries the Yagan—or Yámana—were nomadic your money and how politicians spend it fishers and hunters who traveled as families in the cold and turbulent waters south (Sandhill Book Marketing of Tierra del Fuego (Chile), often carrying their fire with them in their canoes, $21.95) by Mark Milke PHOTO smouldering upon a bed of mud and sand. They Called Me Number One: Sweden calls PETERSON The last remaining pure-blooded Yagan person alive, Cristina Calderón, is the only remaining Secrets & Survival at an T Alice Munro Indian Residential School BARRY speaker of the Yagan language. She and her late sister Ursula Calderón have recounted traditional (Talonbooks $19.95) Yagan stories, in their native tongue, for Hai kur mamashu chis: I Want to Tell You a Story by Bev Sellars Munrovia in Victoria (CreateSpace $18), a folklore collection illustrated with woodcuts by Chilean artist Jimena Saiter. -
May 2020 Preview-Art.Com Halin De Repentigny, Last Burst of Light, 2019 Photo: Susan Stanley
GUIDE TO GALLERIES + MUSEUMS ALBERTA BRITISH COLUMBIA WASHINGTON OREGON April - May 2020 preview-art.com Halin de Repentigny, Last Burst of Light, 2019 Photo: Susan Stanley. Courtesy of Madrona Gallery. Dear Readers, Thank you for your continued support of the arts in the Pacific Northwest. For over 30 years, Preview has helped art and museum aficionados connect with artists’ works and featured exhibitions in Alberta, BC, Washington and Oregon. Since it is vital to continue to support the arts during the COVID-19 crisis, we have published our April-May issue online. Galleries and museums have responded to the situation by temporarily closing their doors and postponing events, while our leading visual arts writers have continued to contribute their insightful reviews of exhibitions and programs. We at Preview have done our best to provide accurate information at the time of publishing; however, I strongly suggest you visit venue websites for updated schedules. This issue is an important beacon for the visual arts. We appreciate that no virtual experience can equal a personal visit to a gallery, museum or artist’s studio. But until such visits are again possible, Preview can guide your search for art that inspires you at this time of self-isolation. I should also mention that our magazine functions not only as a gallery guide and cultural advocate in the Pacific Northwest; since 1986, it has been recognized by Library and Archives Canada as “a historical record of art produced in this area. Public and museum libraries collect and retain copies of Preview for their permanent archives.” The arts on both sides of the border need our support now more than ever. -
John Vanderpant and the Cultural Life of Vancouver, 19 20-1939
John Vanderpant and the Cultural Life of Vancouver, 19 20-1939 SHERYL SALLOUM The Canadian photographer John Vanderpant (1884-1939) achieved world-wide recognition for his black and white images and was "a major influence on Canadian photography in the 1920s and 1930s."1 He was also a major influence on the cultural development of the Vancouver area in those years. Vanderpant is an example of the patron who, according to Maria Tippett, helped to make Canadian culture "richly-textured, diver sified, and spontaneous" in the period between the two world wars.2 His endeavours to encourage the arts were extraordinary; his contributions to the cultural milieu of the West Coast are as unique and intriguing as his photography. Vanderpant emigrated from Holland in 1911, but he did not become a permanent Canadian resident until 1913. At that time he settled in the beautifully rugged region of southern Alberta. Attracted by its resource- rich economy and scenic expanses, Vanderpant felt that the area offered viable employment possibilities and creative freedom. These were espe cially important to the young man as he was beginning a career as a portrait photographer, and he wanted to escape restricting European traditions.3 To Vanderpant's dismay, he found that the area was artistically isolated; he yearned for a more vibrant cultural environment. It is not surprising, therefore, that he began importing American and European publications and musical recordings in order to keep himself attuned to new and avant- garde movements. Over the years he would disseminate that information, and the ways in which he would do so were distinctive. -
An Autobiography of Our Collection: Collecting with Intent
An Autobiography of Our Collection: Collecting with Intent Lawren HarrisHarris, Mount Thule, Bylot Island 1930, oil on canvas, Collection of the Vancouver Art Gallery, Gift of the Vancouver Art Gallery Women's Auxiliary TEACHER’S STUDY GUIDE FALL 2011 1 Contents Page Program Information and Goals..................................................................................................................3 Background to the Exhibition ......................................................................................................................4 Background to the Artists............................................................................................................................7 Pre- and Post- Visit Activities 1. Collecting Collections............................................................................................................... 10 2. The Artists, The Collections ..................................................................................................... 12 Information Sheet 1: Artists ........................................................................................... 13 Information Sheet 2: Collections ................................................................................... 14 Student Worksheet.......................................................................................................... 17 3. Sketching and Abstracting....................................................................................................... 18 4. Pop Art Collages ...................................................................................................................... -
Download Download
BOOK REVIEWS LOOKING AT PICTURES: A REVIEW ESSAY fill Wade Faces of British Columbia: Looking at the Past, 1860-1960, by Rosemary Neering and Joe Thompson. Vancouver/Toronto: Whitecap 1995. 163 pp. Photos. $24.95 paper. Flapjacks and Photographs: The Life Story of the Famous Camp Cook and Photographer Mattie Gunterman, by Henri Robideau. Vancouver: Polestar 1995. 204 pp. Photos, maps. $24.95 paper. Underlying Vibrations: The Photography and Life of fohn Vanderpant, by Sheryl Salloum. Victoria: Horsdal and Schubart, 1995. xi, 96 pp. Photos. $35.00 paper. These three new tides mark, perhaps unknowingly, an anniversary of sorts in the history of photography in British Columbia. In 1976, Christopher Varley and Fred Douglas mounted a show called Eleven Early British Columbian Photographers at the Vancouver Art Gallery and raised the historical photo graph to the status of an art object.1 This small but important exhibition included some of the prints of the amateur photographer Mattie Gunterman (1872-1945). That same year Charles C. Hill's exhibition of the extraordinary prints of the studio photographer John Vanderpant (1884-1939) came to Vancouver from the National Gallery of Canada.2 Since 1976, the work of Mattie Gunterman and John Vanderpant and the history of British Columbia's 1 Vancouver Art Gallery, Eleven Early British Columbian Photographers, 1890-1Ç40, an exhibi tion organized by Christopher Varley with the help of Fred Douglas, n March to 4 April 1976 (Vancouver: The Gallery 1976). Varley is the grandson of Frederick H. Varley, the Group of Seven artist and John Vanderpant's friend. 2 Charles C. -
Bibliographie
Bibliographie Steven C. McNeil, avec la contribution de Lynn Brockington Abell, Walter, « Some Canadian Moderns », Magazine of Art, vol. 30, no 7 (juill. 1937), p. 422– 427. Abell, Walter, « New Books on Art Reviewed by the Editors, Klee Wyck by Emily Carr », Maritime Art, vol. 2, no 4 (avril–mai 1942), p. 137. Abell, Walter, « Canadian Aspirations in Painting », Culture, vol. 33, no 2 (juin 1942), p. 172– 182. Abell, Walter, « East is West – Thoughts on the Unity and Meaning of Contemporary Art », Canadian Art, vol. 11, no 2 (hiver 1954), p. 44–51, 73. Ackerman, Marianne, « Unexpurgated Emily », Globe and Mail (Toronto), 16 août 2003. Adams, James, « Emily Carr Painting Is Sold for $240,000 », Globe and Mail (Toronto), 28 nov. 2003. Adams, John, « …but Near Carr’s House Is Easy Street », Islander, supplément au Times- Colonist (Victoria), 7 juin 1992. Adams, John, « Emily Walked Familiar Routes », Islander, supplément au Times-Colonist (Victoria), 26 oct. 1993. Adams, John, « Visions of Sugar Plums », Times-Colonist (Victoria), 10 déc. 1995. Adams, Sharon, « Memories of Emily, an Embittered Artist », Edmonton Journal, 27 juill. 1973. Adams, Timothy Dow, « ‘Painting Above Paint’: Telling Li(v)es in Emily Carr’s Literary Self- Portraits », Journal of Canadian Studies, vol. 27, no 2 (été 1992), p. 37–48. Adeney, Jeanne, « The Galleries in January », Canadian Bookman, vol. 10, no 1 (janv. 1928), p. 5–7. Art Gallery of Greater Victoria, Oil Paintings from the Emily Carr Trust Collection, cat. exp., Victoria, Art Gallery of Greater Victoria, 1958. Art Gallery of Ontario, Emily Carr: Selected Works from the Collection of the Vancouver Art Gallery, cat.