Search Results: Returned 13 Results, Displaying Titles 1 - 13
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-- Nineteen twenties modernism in Montreal - The Beaver Hall Group2015., General, Montreal Museum of Fine Arts ; Black Dog Publishing Call No: NEW 759.11 B759m Availability:1 of 1 At Your Library Summary Note: Taking their name from the downtown street in Montreal where members shared a studio in the early 1920s, The Beaver Hall Group were early adopters of new modernistic approaches to painting and explored their potential within a variety of genres, including portrait, still life, landscape and prescient scenes of urbanity. As well as providing an artistic window into the modern lives of Canadians during this transformational period of history, as a collective The Beaver Hall Group are exceptional for their inclusion of female artists as core members. Initially comprising of both genders, the group would become an all-female collective that includes some of Canada's most celebrated modern painters. Through a series of comprehensive contextual essays The Beaver Hall Group: 1920s Modernism in Montreal interweaves the work of this pioneering artistic collective within a broader narrative of the arts in the first half of the twentieth century. Exploring the groups' greater role in the modernity of Canada--and more specifically the cultural context of Montreal--the book takes on core themes such as the rise of the metropolis, juxtapositions between economic progress and cultural development, and the impact of gender on critical approaches to both artists and their work.
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2022., Art Canada Institute Call No: NEW IND 759.11 M745b Availability:1 of 1 At Your Library Summary Note: Being Legendary presents a new-and never before published-body of work by the revered and internationally renowned Cree artist Kent Monkman, guided by an Indigenous worldview, historical narratives, and the artist's playful imagination. Known for his thought-provoking and groundbreaking paintings, in Being Legendary Monkman focuses on the cultural world's most urgent topic: What does the museum mean in the twenty-first century?
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-- Art and history from 1868 to today.2008., Montreal Museum of Fine Arts ; Prestel Art Call No: 709.729 C962c Availability:2 of 2 At Your Library
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c1986., Metropolitan Museum of Art : Rizzoli Call No: 793.3 M594 Availability:1 of 1 At Your Library
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2004., Yale University Press ; National Gallery of Canada Call No: 704.9 C585g Availability:1 of 1 At Your Library Summary Note: The circus is a dazzling world filled with acrobats and harlequins, tumblers and riders, monsters and celestial creatures. Now this engaging book sets that world in a new light, examining how painters, sculptors, and photographers from the eighteenth century to the present have used the circus as a springboard for their imaginative expression and have envisioned the clown as a metaphor for the modern artist. The book presents more than 175 works by such artists as Degas, Toulouse-Lautrec, Rouault, Picasso, Chagall, and Leger. Some of these are masterful works shown for the first time rangiing from the 18-meter stage curtain Picasso designed in 1917 for Erik Satie's ballet Parade to more intimate works such as Nadar and Tournachon's photographs of Pierrot as played by celebrated mime Charles Debureau.
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2018., Goose Lane Editions Call No: 779.092 P916n Availability:1 of 1 At Your Library Summary Note: "With Ned Pratt, there is no nostalgia, no romance, no theatre. His interest in the Newfoundland landscape forms the foundation for his photography. Pratt's approach to the act of looking transcends place. He distills the landscape into abstractions of form and colour. Disrupting depth with close architectural details and incisions of poles and wires, he undermines the traditional, romantic notion of 'looking out' to sublime geometry. Net Pratt: One Wave charts a decade of Pratt's breathtaking photography. Echoing Pratt's aesthetic, this beautifully designed book presents Pratt's works in formal conversation with each other. Stark imagery of buildings is juxtaposed with forays into abstraction and celebrations of the inherent geometry of natural forms -- whether a single wave crashing over a wall or stones cracked by freezing and thawing. The first ever book on Ned Pratt's photography, One Wave will accompany a major exhibition of his work, due to open at The Rooms in the fall of 2018. Featuring more than 30 large-scale reproductions of Pratt's photographs, this book will also include essays by the artist, Mireille Eagan, Curator of Contemporary Art at The Rooms; Sarah Fillmore, Chief Curator, Art Gallery of Nova Scotia; Ray Cronin, independent curator; and Jonathan Shaughnessy, Assistant Curator, Contemporary Art, National Gallery of Canada. Ned Pratt's photographs have been exhibited at the McMichael Canadian Art Collection, PREFIX Photo, the Canadian Museum of Contemporary Photography, and the Contact Photography Festival. They may also be found in numerous public and corporate collections" -- Provided by publisher.
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[2018]., McGill-Queen's University Press Call No: 738.0952 G738o Availability:1 of 1 At Your Library Summary Note: "Sir William Van Horne (1843-1915), a gifted connoisseur most famously associated with the building of the Canadian Pacific Railway, amassed of one of the most extensive collections of Japanese ceramics in North America. Obsession is an illuminating account of the how and why behind his passion for studying and acquiring nearly 1,200 objects. Ron Graham assembles a profile of Van Horne's larger-than-life personality as well as essays about his place at the top of the art collectors in Montreal's Golden Square Mile and the afterlife of his collection following his death. Accompanying the texts are historical photographs and documents, a detailed catalogue of over three hundred individual pieces in the Royal Ontario Museum and the Montreal Museum of Fine Arts, and a selection of beautiful reproductions of Van Horne's personal notebooks and exquisite watercolours from the archives of the Art Gallery of Ontario. Published in conjunction with a major exhibition at the Gardiner Museum in Toronto and the Montreal Museum of Fine Arts, Obsession presents a remarkable collection in the context of the life and career of a nineteenth-century Canadian business giant."--
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-- Wabanaki Kiskukewey :2022., Goose Lane Editions Call No: NEW IND 709.71 H348w Availability:1 of 1 At Your Library Summary Note: The "Micmac Indian Craftsmen" of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions--including at Expo 67--and their designs were featured on prints, silkscreened notecards, jewelry, tapestries, and even English porcelain. Primarily self-taught, deeply rooted in their community, and fluent Mi'kmaw speakers, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent. By 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this ground-breaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, Wabanaki Modern features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.
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-- Give me love.2016., Adult, David Zwirner Books Call No: NEW 709.2 K97y Availability:1 of 1 At Your Library Summary Note: "Yayoi Kusama: Give Me Love documents the artist's most recent exhibition at David Zwirner, New York, which marked the US debut of The Obliteration Room, an all-white, domestic interior that viewers are invited to cover with dot stickers of various sizes and colors. Taking The Obliteration Room as its centerpiece, this catalogue reveals, in vivid large-scale plates, the transformation of the space from a clean, white interior to a stunningly saturated room, with ceilings, walls, and furniture covered in myriad multicolored stickers put there by viewers over the course of the exhibition. The catalogue also includes beautiful reproductions of Kusama's new large-format paintings from the My Eternal Soul series. Ranging from bright and densely pixelated forms, to umber figures with darker blues and muted oranges, these paintings demonstrate the artist's striking command of color, and her exceptional control over balance and contrast. Bold brushstrokes hover between figuration and abstraction; vibrant, animated, and intense, these paintings introduce their own powerful pictorial logic, at once contemporary and universal. The catalogue continues with a selection of new, large pumpkin sculptures, a form that Kusama has been exploring since her studies in Japan in the 1950s, and which gained prominence in the 1980s, continuing to remain an essential part of her practice. Made of shiny stainless steel and featuring painted dots, or dot-shaped perforations, that recall The Obliteration Room, these immersive works seem created on human scale, with the tallest measuring 70 inches (178 cm). Vibrant plates capture how color, shape, size, and surface merge in these sculptures and mesmerize the viewer. Texts include a "Hymn to Yayoi Kusama" by art critic and poet Akira Tatehata and a poem by the artist herself." .
