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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. -
26727 Consignor Auction Catalogue Template
Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation. -
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. -
E3.59390 2.Pdf
X Ecrits II 1. Journal, Correspondance (1923-1953) BIBLIOTHÈQUE DU NOUVEAU MONDE comité de direction Roméo Arbour, Yvan G. Lepage, Laurent Mailhot, Jean-Louis Major De Paul-Emile Borduas dans la même collection Ecrits I (André-G. Bourassa, Jean Fisette et Gilles Lapointe) La « Bibliothèque du Nouveau Monde » entend constituer un ensemble d'éditions critiques de textes fondamentaux de la littérature québécoise. Elle est issue d'un vaste projet de recherche (CORPUS D'ÉDITIONS CRITIQUES) administré par l'Université d'Ottawa et subventionné par le Conseil de recherches en sciences humaines du Canada. BIBLI OTHÈ QU E DU NOUVEAU MONDE Paul-Emile Borduas Écrits II 1. Journal, Correspondance (1923-1953) Édition critique par ANDRÉ-G. BOURASSA et GILLES LAPOINTE Université du Québec à Montréal 1997 Les Presses de l'Université de Montréal C. P. 6128, succursale Centre-Ville, Montréal (Québec), Canada H3C 3J7 Le Conseil de recherches en sciences humaines du Canada a contribué à la publication de cet ouvrage. Données de catalogage avant publication (Canada) Borduas, Paul-Emile, 1905-1960 (Bibliothèque du Nouveau Monde) Écrits II, tome 1 : Journal, Correspondance (1923-1953) Édition critique / André-G. Bourassa (1936- ) et Gilles Lapointe (1953-) Comprend des références bibliograhiques. ISBN 2-7606-1690-8 ND249.B6B67 1987 759.11 C88-004202-8 «Tous droits de traduction et d'adaptation, en totalité ou en partie, réservés pour tous les pays. La reproduction d'un extrait quelconque de ce livre, par quelque procédé que ce soit, tant électronique que mécanique, en particulier par photocopie et par microfilm, est interdite sans l'autorisation écrite de l'éditeur.» ISBN 2-7606-1692-4 (tomes 1 et 2) ISBN 2-7606-1690-8 (tome 1) Dépôt légal, 1er trimestre 1997 Bibliothèque nationale du Canada Bibliothèque nationale du Québec © Les Presses de l'Université de Montréal, 1997 Paul-Emile Borduas, Paris, 1957; à l'arrière-plan, Composition n° 35 (photo Philip Pocock). -
A Finding Aid to the Clement Greenberg Papers, 1937-1983, in the Archives of American Art
A Finding Aid to the Clement Greenberg Papers, 1937-1983, in the Archives of American Art Jayna Hanson Funding for the processing of this collection was provided by the Terra Foundation for American Art March 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Information, circa 1950s-1983.............................................. 5 Series 2: Business and Financial Records, 1948-1983........................................... 6 Series 3: Correspondence, 1937-1983................................................................... -
Batty CV 2020
MICHAEL BATTY Born in Vancouver B.C. 1967 EDUCATION 2004 The Art Institute, Printmaking, Capilano College, North Vancouver, (Wayne Eastcott, Instructor) 1993-1995 The Art Institute, Printmaking, Capilano College, North Vancouver, (Wayne Eastcott, Instructor) 1993-1994 Emma Lake Artists’ Workshop, Saskatchewan University Guest Artists: Medrie McPhee, Lee Tribe, Lynn Donoghue, Janet Fish & Vic Cicansky 1992 Emma Lake Artists’ Workshop, Saskatchewan University Guest Artists: Evan Penny, Suzanna Heller, Anthony Caro, William Perehudoff & Dorothy Knowles 1985-89 Fine Arts Diploma, Major Painting Emily Carr College of Art & Design, Vancouver SOLO EXHIBITIONS 2018 “Building” Burrard Arts Foundation, Vancouver B.C. “Tones,Poems and Frequencies , Pendulum Gallery ,Vancouver B.C. 2016 “Recent Work” Franc Gallery, Vancoucer B.C. 2011 “Drawn” Newzones Gallery of Contemporary Art, Calgary 2009 “New Work”, Douglas Udell Gallery, Vancouver 2001 “Prospect”, Douglas Udell Gallery, Vancouver “Prospect”, Newzones Gallery of Contemporary Art, Calgary 2000 “Open”, Douglas Udell Gallery, Vancouver 1996 “Sources”, Douglas Udell Gallery, Vancouver “Selected Works”, 1991-1995, The Art Institute, Capilano College, North Vancouver, B.C. 1995 “The Collective Spirit”, Richmond Art Gallery, B.C. 1996 “Standards Vol. 1, Newzones Gallery of Contemporary Art, Calgary 1990 “Recent Paintings”, Patrick Doheny Fine Art Ltd. Vancouver SELECTED GROUP EXHIBITIONS 2020 “Preception 2020, Newzones Gallery , AB 2019 “Perception Newzones Gallery , AB 2018 ”Line and Colour”Michael Batty and Kristofer Dean , Newzones Gallery , AB 2017 “The Moth and the Flame” – Michael Batty and Chris Shier Franc Gallery, Vancouver B.C. “Art on Paper” Art Fair Pier 94 , Manhattan New York NY. “Select Artist” Darrell Bell Gallery, Saskatoon, Saskatchewan 2016 “Splash Art Auction 2016 , Granville Island / Pendulum Gallery , BC “Spring Show” Douglas Udell Gallery, Edmonton, AB “Papier Art Fair” Franc Gallery, Montreal, Que. -
MANGAARD C.V 2019 (6Pg)
ANNETTE MANGAARD Film/Video/Installation/Photography Born: Lille Værløse, Denmark. Canadian Citizen Education: MFA, Gold Medal Award, OCAD University 2017 BIO Annette Mangaard is a Danish born Canadian media artist and filmmaker who has recently completed her Masters in Interdisciplinary Art, Media and Design. Her installation work has been shown around the world including: the Armoury Gallery, Olympic Site in Sydney Australia; Pearson International Airport, Toronto; South-on Sea, Liverpool and Manchester, UK; Universidad Nacional de Río Negro, Patagonia, Argentina; and Whitefish Lake, First Nations, Ontario. Mangaard has completed more then 16 films in more than a decade as an independent filmmaker. Her feature length experimental documentary on photographer Suzy Lake and the history of feminism screened as part of the INTRODUCING SUZY LAKE exhibition October 2014 through March 2015 at the Art Gallery of Ontario. Mangaard was nominated for a Gemini for Best Director of a Documentary for her one hour documentary, GENERAL IDEA: ART, AIDS, AND THE FIN DE SIECLE about the celebrated Canadian artists collective which premiered at Hot Doc’s in Toronto then went on to garner accolades around the world. Mangaard’s one hour documentary KINNGAIT: RIDING LIGHT INTO THE WORLD, about the changing face of the Inuit artists of Cape Dorset premiered at the Art Gallery of Ontario and was invited to Australia for a special screening celebrating Canada Day with the Canadian High Commission. Mangaard’s body of work was presented as a retrospective at the Palais de Glace, Buenos Aires, Argentina in 2009 and at the PAFID, Patagonia, Argentina in 2013. In 1990 Mangaard was invited to present solo screenings of her films at the Pacific Cinematheque in Vancouver, Canada and in 1991 at the Kino Arsenal Cinematheque in Berlin, West Germany. -
John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism
John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism by Matthew Purvis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2020, Matthew Purvis i Abstract This dissertation concerns the relation between eroticism and nationalism in the work of a set of English Canadian artists in the mid-1960s-70s, namely John Boyle, Greg Curnoe, and Joyce Wieland. It contends that within their bodies of work there are ways of imagining nationalism and eroticism that are often formally or conceptually interrelated, either by strategy or figuration, and at times indistinguishable. This was evident in the content of their work, in the models that they established for interpreting it and present in more and less overt forms in some of the ways of imagining an English Canadian nationalism that surrounded them. The dissertation contextualizes the three artists in the terms of erotic art prevalent in the twentieth century and makes a case for them as part of a uniquely Canadian mode of decadence. Constructing my case largely from the published and unpublished writing of the three subjects and how these played against their reception, I have attempted to elaborate their artistic models and processes, as well as their understandings of eroticism and nationalism, situating them within the discourses on English Canadian nationalism and its potentially morbid prospects. Rather than treating this as a primarily cultural or socio-political issue, it is treated as both an epistemic and formal one. -
Property of the Estate of Blema and H. Arnold Steinberg
ProPerty of the estAte of BlemA And h. Arnold steinBerg member of the board of governors of McGill University, and later as governor emeritus, and founding chairman of the board of the McGill University Health Centre, among other titles. All of this led to one of the most gratifying roles of his extraordinary life, when in 2009 he was appointed chancellor of McGill University. Upon his passing, Heather Munroe-Blum, vice-chancellor of McGill, reflected: “Arnold was a prince of a man. He shaped McGill, Montreal and Canada in deeply progressive and posi- tive ways—uniquely, indelibly. He influenced everyone he met through his gracious warmth, joyous optimism and incisive intelligence.” Blema Steinberg wore many hats and was exceptionally accomplished. She too was known for her remarkable dedication to McGill University and her continuous philanthropic efforts. She was a double graduate of McGill, where she completed her BA and PhD, and a graduate of Cornell University, where she completed her MA. She became a professor in 1961 and was appointed to McGill’s Department of Political Science, where she taught for more than 40 years, before being honoured with the title of professor emerita following her retirement in 2001. During her tenure, she focused her research efforts on the psy- chological factors of decision-making and character studies of leaders in politics. Blema authored many academic publications and, most notably, two books—Women in Power: The Personalities Blema and H. Arnold Steinberg and Leadership Styles of Indira Gandhi, Golda Meir and Margaret Photo: Owen Egan Thatcher and Shame and Humiliation: Presidential Decision-Making Courtesy of McGill University on Vietnam. -
National Arts Centre, Ottawa, Ontario
REPORT | RAPPORT NATIONAL ARTS CENTRE, OTTAWA, ONTARIO RHona Goodspeed has been an architectural >RHONA GOODSPEED historian with Parks Canada since 1990. During that time she has worked on a range of subjects, including military complexes, historic districts, cultural landscapes, ecclesiastical buildings, houses, and other building types. DESIGNATION The National Arts Centre (NAC) was desig- nated a national historic site of Canada in 2005. The reasons for its designation are the following. It is an outstanding example of a performing arts centre in Canada for its overall design, its highly successful integration into its urban set- ting, its succession of interior spaces to create dramatic effect, its unique com- bination of performing spaces and the progressive designs of each one, and its integration of contemporary works of art as part of its design. It is an outstand- ing example of a building illustrating the positive consequences of Canadian federal policy on the performing arts during the second half of the twenti- eth century, considered, in the words of Prime Minister Lester B. Pearson, as a “national institution.” It is an example of state-of-the-art performing spaces and technology at the time of construction, in particular for the aesthetic and tech- nical design of Southam Hall, which is an exceptional example of a medium-sized multipurpose auditorium representing an inspired collaboration between architect and acoustician. INTRODUCTION The National Arts Centre (NAC) is located on the east side of Confederation Square in the centre of downtown Ottawa (figs. 1-3). It occupies an irregular site on a steep slope descending from Elgin Street, a major artery on the west, to the Rideau Canal on the east. -
1 the Medium and the Methodology: What the Drawing of Guido Molinari
The Medium and the Methodology: What the Drawing of Guido Molinari and Yves Gaucher Reveals. By Jessica Veevers Two Quebec hard-edge painters of iconic proportions, Guido Molinari and Yves Gaucher betray their convictions and contradictions most tellingly through their drawing. These two painters, who are both associated with the post-plasticien movement, could not be more different. A cursory experience of their paintings could erringly lead one to assume that they came from a “school” that wants to communicate the formal and structural properties of colour and colour alone. Simplistically, this is true on some fronts. Close analysis of their paintings will likely cause doubt, but it is their drawing that most evidently discloses their differences. If we look at Molinari’s early drawing with pen or pencil there is a frenetic creation and following of line – a filling of space wherein a searching is manually evident. This larger-than-life man was from a young age trying to break away from the Automatiste legacy and find the aesthetic relations of space to plane on his own terms. For Gaucher, it was a different process. He came to monochrome painting through printmaking. Undeniably their foundational and educational beginnings influenced their art making but their personalities equally drove their relationship with their materials and their methodology. Molinari’s drawing reveals his instinctual nature, whereas Gaucher’s drawing reveals his methodical nature. Moreover, their relationship with their respective mediums and materials define both who they are and what their painting became. What is similar about both of these artists is that they utilize mediums on paper to research their expression. -
1945-2019 EG : Exposition De Groupe ES
Catalogue raisonné de Jean Paul Riopelle Liste des expositions et bibliographie – 1945-2019 EG : exposition de groupe ES : exposition solo ED : exposition en duo 1945 EG : 62e Salon du printemps, Musée des beaux-arts de Montréal, cat., 5-29 avril 1945. BIBLIOGRAPHIE Paul Duval. « Montreal Artists EstablisHing New Landmarks in Canadian Art ». Saturday Night, 10 novembre 1945, p. 24. 1946 EG : The Borduas Group, Studio Boas, New York. Borduas, Gauvreau, Leduc, Mousseau, Riopelle et Viau, janvier 1946. EG : Septième exposition annuelle de peintures et dessins, Société d’art contemporain, Musée des beaux-arts de Montréal, cat., 2-14 février 1946. EG : Exposition automatiste, 1257, rue AmHerst à Montréal. Borduas, Barbeau, Leduc, Mousseau, Gauvreau, Fauteux et Riopelle, 20-29 avril 1946. 1947 Signature du manifeste Rupture inaugurale avec le groupe d’André Breton le 21 juin 1947. EG : Automatisme, Galerie du Luxembourg, Paris, avec Barbeau, Borduas, Fauteux, Leduc, Mousseau et Riopelle, 20 juin-13 juillet 1947. Mise à jour : 20 décembre 2019. EG : Le Surréalisme en 1947, Exposition internationale du surréalisme, Galerie MaegHt, Paris, présentée par André Breton et Marcel DucHamp, cat. Pierre à feu, MaegHt Éditeur, 7 juillet-30 septembre 1947. EG : Salon des Surindépendants, Paris, octobre 1947. ED : Mousseau-Riopelle, cHez Muriel Guilbault, 374, rue SHerbrooke Ouest à Montréal, 29 novembre-14 décembre 1947. EG : Mezinárodní Surrealismus, Topicuv Salon, Prague, avec Baskine, Bellmer, Brauner, Bouvet, Donati, Ernst, Herold, Jean, Kiesler, Kujavski, Lam, Matta, Miró, Riopelle, Serpan, Tanguy, Toyen, Trouille et Younane, cat. EG : L’Imaginaire, Galerie du Luxembourg, Paris. Exposition présentée par J.J. MarcHand, avec Arp, Atlan, Brauner, Bryen, Hartung, Leduc, Mathieu, Picasso, Riopelle, Solier, Ubac, Verroust, Vulliamy et Wols.