AGNES ETHERINGTON ART CENTRE
Brendan Fernandes: Lost Bodies
Delinda Collier, Kevin D. Dumouchelle, Amanda Gilvin, Amanda Jane Graham, Erica P. Jones and Nat Trotman
Starting with the body as a place of knowing, Fernandes offers multiple points of connection that draw upon traditional African textiles, costume and masks, gestures of Western ballet, and elegant, poetic dance choreographies within the museum vault. With this fresh approach to re-presenting African artifacts, he invokes a long-absent live-ness and reconsiders selections from two major collections in a set of new video, print and spatial intercessions. Fernandes’ montage of classical dance and the collected object is concentrated around precise body language that raises questions about the visual and discursive habits that shape understandings of African art within Western museums. Essays by specialists in art performance, dance history and African art explore the implications of Fernandes’ intervention with two of Canada’s most distinctive collections of African art: The Justin and Elisabeth Lang Collection of African Art at the Agnes Etherington Art Centre and the collection of the Textile Museum of Canada. Brendan Fernandes is a Brooklyn-based Canadian artist of Kenyan and Indian descent. His work has been widely exhibited most notably at the Solomon R. Guggenheim Museum, Museum of Art and Design New York, National Gallery of Canada, Art in General, MASS MoCA, Andy Warhol Museum, Seattle Art Museum, Brooklyn Museum, Seattle Art Museum, Sculpture Center, Deutsche Guggenheim and Stedelijk Museum. Fernandes has participated in numerous residency programs including The Canada Council for the Arts International Residency in Trinidad and Tobago and The Lower Manhattan Cultural Council’s Work Space. He is a 2014 recipient of a Robert Rauschenberg Residency Fellowship and in 2016 he will be artist in residence at Northwestern University in the Department of Dance Studies. Delinda Collier is Assistant Professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. Kevin D. Dumouchelle is Associate Curator for the Arts of Africa and the Pacific Islands at the Brooklyn Museum. Amanda Gilvin is Associate Curator of Collections at the Davis Museum at Wellesley College. Amanda Jane Graham is the Andrew Mellon Postdoctoral Fellow in Dance Studies at Northwestern University. Erica P. Jones is Assistant Curator of African Art at the UCLA Fowler Museum. Nat Trotman is Curator of Performance and Media at the Guggenheim Museum.
Agnes Etherington Art Centre (11/2016) 128 pp col. ill. 8.5 x 5.5 in softcover 9781553394938 $27.00 Can. $29.00 U.S.
Deirdre Logue and Allyson Mitchell: I'm Not Myself At All
Heather Love and Sarah E.K. Smith
With their exuberant revision of feminist and queer horizons, the collaborative practice of Deirdre Logue and Allyson Mitchell includes video, drawing, wallpaper, needlepoint, oversized soft-sculpture dolls, and green-screen performances. At turns playful and aggrieved, they sort through discarded feminist pasts, flirting with what Smith identifies as “potentiality, belonging and representation.” By summoning key feminist and queer texts into conversation with familiar rhetoric and everyday life, their practice embodies a longing for a future that is magical, idealized and hard-fought. Logue and Mitchell are founders of Toronto’s Feminist Art Gallery which they describe as a “political potluck, free-schooling, backyard screening, axe grinding, directed reading, protest sign making, craft den, incantation, herbal tea and gluten-free muffin top artist talk sensation.” Both artists have gained international recognition for their solo artistic and activist achievements. Heather Love teaches in the English Department at the University of Pennsylvania and is author of Feeling Backward: Loss and the Politics of Queer History (Harvard University Press). Sarah E.K. Smith, formerly Curator of Contemporary Art at the Agnes Etherington Art Centre, is a postdoctoral fellow at Harvard University.
Agnes Etherington Art Centre (09/2015) 64 pp col. ill. 9.5 x 7 in softcover 9781553394082 $22.00 Can. $24.00 U.S.
The Artist Herself: Self-Portraits by Canadian Historical Women Artists
Alicia Boutilier and Tobi Bruce
A stunningly illustrated look at the ways in which women artists have given profound expression to their identities from colonial times to 1970. From Pauline Johnson’s performance costumes representing her dual Mohawk and Euro-Canadian identity to Emily Carr’s painting of herself from the back at her easel, from Hannah Maynard’s playful photographs of her multiple selves to Pitseolak Ashoona’s sly comment on her participation in the Inuit art market, this publication brings to light a rich but unexplored aspect of women’s lives in Canadian society. Drawing upon our fascination with self-portraits, The Artist Herself expands the genre’s definition by moving beyond the human face to propose other forms of self-representation, from both settler and Indigenous perspectives. The result is a thought-provoking selection of works by 42 women artists in a range of media, including paintings, textiles, photographs and film. Both renowned and lesser-known artists are featured, notably, Pitseolak Ashoona, Simone-Mary Bouchard, Emily Carr, Paraskeva Clark, Alice Egan Hagen, Frances Anne Hopkins, Pauline Johnson, Maud Lewis, Pegi Nicol MacLeod, Hannah Maynard, Daphne Odjig, Princess Louise, Mary Hiester Reid, Shawnawdithit, Martha Eetak, and Margaret Watkins. The main essay is accompanied by in-depth entries on individual works and themes by 35 specialists, along with numerous colour plates. Published in conjunction with the third Canadian Women Artists History Initiative conference, marking the 40th anniversary of From Women’s Eyes: Women Painters in Canada, a landmark exhibition in the history of Canadian art organized by the Agnes Etherington Art Centre in 1975, International Women’s Year. Alicia Boutilier is Curator of Canadian Historical Art at the Agnes Etherington Art Centre, Queen’s University. Tobi Bruce is Senior Curator of Canadian Historical Art at the Art Gallery of Hamilton. The Artist Herself will tour nationally throughout 2015-2016 and is co-published with the Art Gallery of Hamilton.
Agnes Etherington Art Centre (05/2015) 176 pp col. ill. 12 x 9.5 in softcover 9781553394075 $35.00 Can. $40.00 U.S.
Akram Zaatari has emerged as one of the most prominent commentators on photography in the Middle East. Through film, video and photography, he explores the precarious status of archives in times of war, as well as their discursive limits as narrators of Lebanon’s history. His investigations make us witnesses to powerful accounts of a period marked by the violence and disorientation of the Lebanese Civil War (1975-1990). Zaatari’s works provide a glimpse of what has been concealed from view and hidden inside bodies, and exhumes what has been buried in the earth: letters written in code passed through censors, tiny letters swallowed and delivered after defecation, instantaneous chats between lovers presented as a letter, and reassuring letters enclosed within mortar casings. Akram Zaatari is a video artist and curator who lives and works in Beirut. Along with with photographers Fouad Elkoury, Walid Raad, and Samer Moadad he founded the Zaatari Arab Image Foundation, and he is the author of numerous videos exploring issues pertinent to Lebanese postwar condition, including All is Well on the Border (1997), This Day (2003) and In This House (2005). Zaatari has also been exploring representations of male sexuality particularly in crazy of you (1997), and later in How I love you (2001). Zaatari regularly contributes to scholarly journals such as Third Text, Bomb, Framework, Transition, and Zawaya. His works have been exhibited internationally, most recently, at New Museum of Contemporary Art, Museum of Modern Art, 55th Venice Biennial, and MIT List Visual Arts Center. Vicky Moufawad-Paul is the Artistic Director at A Space Gallery (Toronto) and was founding Executive Director of the Toronto Arab Film Festival. Her writing has appeared in Prefix Photo, Fuse Magazine, and the Arab American National Museum. Judith Rodenbeck is Professor of Modern and Contemporary Art and Noble Foundation Chair in Modern Art and Culture at Sarah Lawrence College. She is former Editor-in-Chief of Art Journal and the coauthor of Experiments in the Everyday: Allan Kaprow and Robert Watts-Events, Objects, Documents. Published with Carleton University Art Gallery.
Akram Zaatari: All Is Well
Vicky Moufawad-Paul and Judith Rodenbeck
Agnes Etherington Art Centre (03/2015) 64 pp col. ill. 9.25 x 7 in hardcover 9781553394020 $22.00 Can $26.00 U.S.
Terms of Engagement: Averns, feldman-kiss, Stimson
Christine Conley and Kirsty Robertson
The Canadian Forces Artists Program (CFAP) was launched in 2001 to embed artists alongside Canadian troops. Unlike earlier official war art programs, CFAP does not exhibit or collect the work produced by artists who volunteer for the privileged access it offers. This publication documents work by three artists who have recently been deployed to conflict zones as CFAP participants. Dick Averns was hosted by the Multinational Force and Observers at North Base, Sinai, in Egypt during 2009; nichola feldman-kiss was embedded with the United Nations Mission in Sudan in 2011; and Adrian Stimson was stationed at Forward Operating Base Ma`sum Ghar and Kandahar in Afghanistan in 2010. Working across the mediums of photography, video, sculpture and installation, the works in the exhibition reflect CFAP’s arm’s-length relationship with the military, which allows for greater independence of artistic expression. As curator Christine Conley explains, the artists “are all conscious of the complex relation of culture to conflict, given their situation as embedded observers whose access to war zones depends upon military hospitality, protection and social networks.” Compelled by narratives of genocide, the traumatic legacy of colonialism, and the War on Terror, the works presented here offer an encounter and critical engagement with Canada’s place in the world. Co-published with the Esker Foundation.
Agnes Etherington Art Centre / Mount Saint Vincent University Art Gallery (09/2014) 68 pp col. ill. 10 x 8 in softcover 9781553394037 $30.00 Can. $35.00 U.S.
The Adoration of the Shepherds by El Greco
A scholar of European art brings new understanding to this Greco-Italian masterpiece. In 1991 Queen's University's Agnes Etherington Art Centre acquired a remarkable small Adoration of the Shepherds painting by El Greco from donors Alfred and Isabel Bader. For author McTavish this was the beginning of an adventure in tracing the work’s origins to El Greco’s early career, and more specifically to his first major transition from his native Crete to the artistic hotbed of Venice. Using investigative methods that include radiography and infared refelectography, the author maps out the work’s position in relation to the artist’s early production but also to Cretan art, Renaissance prints and works by Titian, whose ability to convey dramatic light and dynamic movement left an indelible mark on his young Greek follower. David McTavish has held various positions, notably, Curator of European Painting and Sculpture at the Art Gallery of Ontario (Toronto), and Director of the Agnes Etherington Art Centre (Kingston).
Agnes Etherington Art Centre (04/2014) 48 pp 22 col ill. 9 x 7 in softcover 9781553394044 $12.00 Can. $15.00 U.S.
The Bader Collection: European Paintings
David de Witt
For many decades the Agnes Etherington Art Centre has been receiving European paintings from the Bader Collection from a wide range of periods and schools, from the German Renaissance to the Italian Rococo. The core of the collection is Dutch and Flemish art, in particular paintings by the Dutch Baroque genius Rembrandt van Rijn and his circle of talented pupils, friends and followers. These works were fully published in the publication of 2008. This new book presents the substantial group of over fifty remarkable paintings from other European Schools, notably Italy, Germany, France and England. A breathtaking early El Greco, a classic Dosso Dossi, an evocative late Luca Giordano, a truly surprising Georg Pencz, as well as a signal masterpiece by the Milanese master Andrea Lanzani highlight the quality and breadth of this part of the collection. Many works make their public debut here, with new findings on authorship, meaning, and other intriguing questions. They are joined by several major recent Netherlandish acquisitions including a late still life by the renowned Willem Kalf. Artists include El Greco, Dosso Dossi, Luca Giordano, Georg Pencz, Andrea Lanzani, Willem Kalf, Adriaen van Ostade, Isack de Jouderville, Jacques-André-Joseph Aved and Jean Baptiste Henri Deshays. Alfred Bader is a renowned collector and dealer of European old master paintings and a fellow of the Royal Society of Arts. David de Witt is Bader Curator of European Art at the Agnes Etherington Art Centre and the author of The Bader Collection: Dutch and Flemish Paintings.
Agnes Etherington Art Centre (04/2014) 220 pp 212 col. ill. 12 x 10 in hardcover 9781553394013 $55.00 Can. $69.00 U.S.
A Canadian Collection: The Soloway Gift
Over the second half of the twentieth century, Canadian philanthropist Ruth Soloway quietly built an astounding collection of paintings, drawings, prints and sculpture spanning the 1840s to the 1980s. While exposure to other cultures strengthened her artistic taste, she maintained a Canadian focus in her collection. From naturalistic landscapes of the nineteenth century to the bold views of Emily Carr and David Milne; from avant-garde abstractions by Paul-Émile Borduas and Jean-Paul Riopelle to figurative paintings by Alex Colville and Jean Paul Lemieux, from William Kurelek’s Prairie children to Michael Snow’s Walking Woman, the collection reveals a deep passion and keen eye for Canadian art. This publication documents and discusses the Soloway Gift.Agnes Etherington Art Centre (10/2013) 60 pp 30 col. ill. 10 x 9.75 in softcover 9781553394006 $15.00 Can. $19.00 U.S.
Déjà déjà visité: Mike Bayne, Jocelyn Purdie, Maayke Schurer
The work of three artists reveals new attitudes towards the representation of landscape. Mike Bayne, Jocelyn Purdie and Maayke Schurer en list subtle shifts of scale and devalued skills torevisit our sense of place. In the process, they de-naturalize and then remake landscape representations. Bayne’s paintings employ tromp l’oeil to evoke a sense of estranged familiarity. Purdie’s jigsaw-puzzle works reconstitute the image through forgetting and projection. Like an alchemist-videographer, Schurer transports the viewer into a realm that she describes as magic realistic nature documentary. The publication's title plays on the concept of déjà vu, or the uncanny re-living of an event. Available in three different covers as shown.
Agnes Etherington Art Centre (07/2013) 41 pp 16 col. ill. 7.5 x 4.75 in softcover 978-1-55339-397-9 $10.00 Can. $12.00 U.S.
Jan Allen, Sandra Dyck, and Jenifer Papararo
Accompanying the Brooklyn-based Canadian artist’s solo museum exhibition, this first monograph reveals an artistic practice that is conceptually rich and imbued with a lush sense of history. Engaging with various media, with works in video, photography and sculpture, the artist riffs on the traditions of Modernism and Conceptualism to interrogate time and materiality. In her investigation of systems and forms of knowledge Shirreff’s work is situated in the lineage of figures such as Robert Smithson and Thomas Struth. Produced by three public galleries, this illustrated publication accompanies an exhibition featuring works produced since 2009 that will travel across the country throughout the year. Erin Shirreff’s work has been exhibited at MoMA PS1, Metropolitan Museum of Art, White Cube and the Power Plant.
Agnes Etherington Art Centre / Carleton University Art Gallery (04/2013) 78 pp 48 col. ill. 11.5 x 9.5 in hardcover 978-1-897302-59-0 $30.00 Can. $35.00 U.S.
A Vital Force: The Canadian Group of Painters
Alicia Boutilier, Anna Hudson, Heather Home and Linda Jansma
Founded in 1933 in reaction to the established view of the Group of Seven as the “national art of Canada”, this diverse group of progressive young artists was the first to aspire to cross-Canada representation of modernist art. Yet the Canadian Group of Painters (CGP) has not entered popular lexicon as did its famous predecessor. This publication sheds new light on the artistic and social impact of the CGP in the first and most dynamic decades of its existence, from 1933 to 1953. Forty-eight paintings by forty-eight key members convey the richness of the group’s practice: new visions of landscape, bold depictions of people and fresh experiments in abstraction. In contrast to the Group of Seven, the Canadian Group of Painters was engaged with modern life during the turbulent times of the Depression, World War II and postwar reconstruction thereby making it a vital force. Artists include Jack Bush, Emily Carr, Paraskeva Clark, Lawren S. Harris, E. J. Hughes, Jack Humphrey, Prudence Heward, Jock Macdonald, David Milne, Lilias Torrance Newton, Goodridge Roberts and Marian Dale Scott. Three essays consider the significance and contribution of the CGP from academic, archival and curatorial perspectives. Interwoven among the essays are detailed examinations of specific works. Magnificently illustrated, this publication brings to light one of the most important artistic groups in twentieth-century Canadian art.
Agnes Etherington Art Centre / The Robert McLaughlin Gallery (03/2013) 128 pp 70 col. ill. 10 x 8.5 in softcover 978-1-55339-264-4 $35.00 Can. $40.00 U.S.
Une force vive : le Groupe des Peintres canadiens
Alicia Boutilier, Anna Hudson, Heather Home et Linda Jansma
Dès le début des années trente, le Groupe des Sept est devenu « l’école nationale » du Canada, dictant l’image de l’art canadien à l’étranger. Les inquiétudes relatives à l’exclusion des artistes plus jeunes et progressistes ont conduit à la formation du Groupe des Peintres canadiens en 1933. Parmi les membres du nouveau groupe, on retrouvait la plupart des artistes progressistes anglophones de l’époque, tels que Jack Bush, Emily Carr, Paraskeva Clark, E. J. Hughes, Prudence Heward, Jock Macdonald, Pegi Nicol MacLeod, David Milne, Goodridge Roberts et Marian Dale Scott. Cette publication vise à faire le point sur les pratiques artistiques qui se sont développées durant les premières années du Groupe, soit de 1933 à 1953. Trois essais et plusieurs présentations individuelles nous offrent une vue d’ensemble minutieuse de ces artistes et de leur époque. En français.
Agnes Etherington Art Centre / Robert McLaughlin Gallery (03/2013) 128 pp 70 ill. coul. 10 x 8.5 po souple 978-1-55339-395-5 $35.00 Can. $40.00 U.S.
Howie Tsui: Friendly Fire
Jan Allen, Steven Loft and Paul Robertson
Howie Tsui’s extraordinary Friendly Fire exhibition blends the history of medicine with a haunting, unruly commemoration of the War of 1812 in this collaborative presentation produced with the Museum of Health Care at Kingston. Three essays explore Tsui’s practice and the aspects of the War illuminated by his installations, including the psychological conditions of war, factitious diseases and self-injury, counter-narratives of conflict, ethno-political strife, medical theories and practices of the period, the uneasy relations between the British and their aboriginal allies, and carnivalesque representations of war in popular culture. Howie Tsui’s work is included in the group exhibition Phantoms of Asia currently showing at the Asian Art Museum in San Francisco.
Agnes Etherington Art Centre (01/2013) 64 pp 30 col. ill. 9 x 8 in softcover 978-1-55339-263-7 $22.00 Can. $25.00 U.S.
Bernard Clark: Tattoo Portraits
Drawing on Bernard Clark’s success as a documentary photographer of ink culture, this publication features his composite portraits of tattooed individuals in landscape and architectural settings. In the eighteen recent works featured, Clark has digitally inserted his extraordinary subjects into surroundings that highlight the stridency of their self-definition through markings. The main essay points to the ways in which Clark’s sensitive and at times playful displacements highlight the contemporary role of the body as a refuge of stable identity and personal expression. In tandem with his award-winning work as a commercial photographer, Bernard Clark has cultivated an art practice focusing on social subcultures. Over the past decade, he has traveled widely in an exceptional project documenting skin art contributing to this surging global phenomenon. His work has been featured in magazin es such as Skin & Ink and in his 2002 book with Bob Baxter, Tattoo Road Trip: Two Weeks in Samoa.
Agnes Etherington Art Centre (01/2012) 36 pp 25 col. ill. 9 x 9 in softcover 978-1-55339-261-3 $14.00 Can. $17.00 U.S.
Annie Pootoogook: Kinngait Compositions
With drawings spanning 2001 to 2006, this publication focuses on Kinngait (Cape Dorset), Nunavut, the Arctic community that has been the focus of Annie Pootoogook's practice. While her drawings offer an unflinching look at life in a community in transition, they also bears witness to the bonds among its people. In the context of the broad popular appeal of Inuit graphics, these works are distinguished by a disconcerting emotional reserve. The artist achieves a cool observational quality that pushes at the edges of comedy or hysteria, a condition of charged understatement that has drawn intense critical interest to her work. Annie Pootoogook is the granddaughter of the renowned graphic artist Pitseolak Ashoona and daughter of artist Napachie Pootoogook. Annie Pootoogook received the prestigious Sobey Art Award in 2006. Her drawings have been exhibited at the Power Plant (Toronto) and the Museum of theAmerican Indian (New York).
Agnes Etherington Art Centre (09/2011) 64 pp 30 col. ill.10 x 8 in softcover 978-1-55339-260-6 $26.00 Can. $32.00 U.S.
Vera Frenkel: String Games
Jan Allen and Earl Miller
In 1974 Vera Frenkel explored real-time video transmission at the then-new Bell Canada Teleconferencing Studios in Toronto and Montreal. Giving her experiment an improvisational structure, she chose the cat’s cradle finger string game as the mode of orchestrated movement in service of a constantly transforming whole. Essayists offer an account of the work’s creation and situate it within the national and international context of conceptual art practices where it intersects with the nascent electronic art movement. Vera Frenkel is currently (2011-2012) exhibiting at the Long Beach Museum of Art in Exchange and Evolution: Worldwide Video 1974-1999.
Agnes Etherington Art Centre (09/2011) 24 pp 12 bw il.l 7.5 x 11.5 softcover 978-1-55339-259-0 $12.00 Can. $14.95 U.S.
Solo: Studio-Watch Series
The Solo Studio-Watch Series of single-work presentations offers a snapshot of the interests and processes of six Kingston (Ontario) artists, showcasing a cross-section of current practices. An opening essays is followed by individual texts on each of the participants: Michael Davidge, Dornene Inglis, Erika Olsen, Chantal Rousseau, Su Sheedy and Lisa Visser.
Agnes Etherington Art Centre (09/2011) 16 pp 6 col. ill. 10 x 8 in softcover 978-1-55339-252-1 $12.00 Can. $14.00 U.S.
Lost and Found: Wright of Derby's View of Gibraltar
John Bonehill, Janet M. Brooke, Barbara Klempan & David de Witt
In 1785, the British painter Joseph Wright of Derby (1734–1797) exhibited a large painting representing his country’s defense of the Rock of Gibraltar against Spanish attack in 1782. A specialist in dramatic light effects, Wright hoped his great battle picture would cap his career, and although it was purchased for a substantial sum at the time, it subsequently slipped from view and was considered lost by specialists in the field. In 2001, the Art Centre acquired a painting representing the same subject which has since been the subject of debate: was this picture, now in poor condition, a copy of Wright’s lost painting, a work by one of his contemporaries, or in fact Wright’s missing masterpiece? This publication presents the results of eight years of research by specialists in conservation and archival and documentary science and demonstrates the painting’s authenticity and returns Wright’s work into the canon of British 18th century art history. Published with the support of The Paul Mellon Centre for Studies in British Art and of Alfred and Isabel Bader.
Agnes Etherington Art Centre (March 2011) 66 pp 40 col. ill. 9.5 x 8.5 in softcover 978-1-55339-258-3 $29.95 Can. $35.00 U.S.
Don Maynard: Franken Forest
Jan Allen & Linda Jansma
Whether sculpture, painting or video, Maynard’s work is distinguished by an adept use of light and perceptual ambiguity. This first monograph documents a new multi-media installation featuring a grove of fabricated trees and a stop-action video projection of a forest canopy. Skirting allusions to genetically engineered crops and nanobuilt environments through use of everyday materials such as glass, nails, laminate flooring and Christmas lights, Maynard’s work plumbs our uneasiness with the irreversible drift of species loss and the insufficient theatre of their replacement.
Agnes Etherington Art Centre / Robert McLaughlin Gallery (09/2010) 48 pp 36 col. ill. 11 x 11 in softcover 978-1-55339-256-9 $18.00 Can. $22.00 U.S.
New Canadiana: The Chancellor Richardson Memorial Fund and Art as Social History
Jan Allen, Alicia Boutilier & Dorothy M. Farr
Through an audacious juxtaposition of historic with contemporary art spanning 1780 to 2005, this original publication exposes enduring issues and evolving narratives as perceived and recorded by artists. A wide range of work is discussed under three thematic banners: Settlement Nation and Migration, Nature and the Environment, and Social Life and Ritual. The multi-faceted staging of the Canadian experience is brought to life by key historical artists such as Emily Carr, Daniel Fowler, William Notman and Antoine Plamondon as well as by key contemporary artists such as Carl Beam, AA Bronson, Janet Cardiff and George Bures Miller and Joyce Wieland. Inspired by the mandate of the Chancellor Richardson Memorial Fund at Queen’s University and showcasing acquisitions the fund has made possible, New Canadiana highlights the value of works of art as historical documents and artifacts. The idea of the nation is at the core of the cultural sphere this collection aims to enhance and define.
Agnes Etherington Art Centre (09/2010) 92 pp 96 col. ill. 11 X 7.5 in softcover 978-1-55339-255-2 $29.00 Can. $35.00 U.S.
William Brymner: Artist, Teacher, Colleague
Alicia Boutilier, Paul Maréchal, Lydia Bouchard & Hélène Sicotte
William Brymner (1855-1925) is distinguished in the history of Canadian art as a painter of great talent and as an influential teacher who inspired many of Canada’s best-known modern artists. As one of the first Canadian artists to study abroad and then as the director of the Art Association of Montreal art school from 1886 to 1921, his openness to new movements informed both his painting and his pedagogy. As an artist he rejected his formal training in order to explore the effects of light, colour and open space, as is particularly evident in his landscapes. This lavishly illustrated publication features one of the most important public collections as well as one of most important private collections of Brymner’s work, that of Power Corporation of Canada. Four scholarly essays present a fresh look at a creative, social, and intellectual milieu in the late 19th and early 20th centuries that, in several ways, had Brymner at its core. In English.
Agnes Etherington Art Centre (03/2010) 140 pp col. ill. 11 x 8 in softcover 978-1-55339-251-4 $39.00 Can. $45.00 U.S.
William Brymner : peintre, professeur, confrère
Alicia Boutilier, Paul Maréchal, Lydia Bouchard et Hélène Sicotte
William Brymner (1855-1925) s’est distingué au sein de l’histoire de l’art canadien en tant que peintre d’un immense talent, ainsi qu’en tant que professeur ayant inspiré plusieurs générations d’artistes modernes canadiens des plus connus. En tant que l’un des premiers artistes canadiens à étudier à l’étranger et, par la suite, soit de 1886 à 1921, en tant que directeur de l’école des beaux-arts de la Art Association of Montreal, l’ouverture de Brymner sur les nouveaux mouvements artistiques a édifier sa propre pratique artistique, ainsi que son approche pédagogique. Comme artiste, il s’est écarté de la formation artistique qu’il avait reçu en exploitant plutôt les effets lumineux, les couleurs vives et les espaces ouverts, le tout se manifestant particulièrement dans ses paysages. Cette publication, somptueusement illustrée, nous présente une des plus importantes collections publiques de l’œuvre de Brymner, ainsi qu’une des plus importantes collections privées, soit celle de la Power Corporation of Canada. Quatre essais nous offrent un regard nouveau sur les milieux créatifs, sociaux et intellectuels de la fin du 19e et du début du 20e siècle. En français.
Agnes Etherington Art Centre (08/2010) 140 pp ill. coul. 27 x 23 cm souple 978-1-55339-254-5 $39.00 Can. $45.00 U.S.
Sorting Daemons: Art, Surveillance Regimes and Social Control
Jan Allen, Kirsty Robertson & Sarah E.K. Smith
Information-gathering systems increasingly affect our lives, tracking our movement and consumer preferences. Such “sorting daemons” subtly reinforce existing streams of influence and create new ones. This publication presents the work of sixteen artists who address the social, psychological, political and aesthetic dimensions of surveillance systems. Writings on the artists and their works are accompanied by critical essays on the culture of surveillance, social sorting, data-aesthetics and our evolving understandings of and participation in surveillance regimes. Participating artists include Antonia Hirsch, Tran T. Kim-Trang, Germaine Koh and Ian Verchere, Michael Lewis, Walid Raad, David Rokeby and Cheryl Sourkes.
Agnes Etherington Art Centre (01/2010) 72 pp col. ill. 12 x 9 in softcover 978-1-55339-253-8 $32.00 Can. $35.00 U.S.
Michael Campbell: Field Recordings of Icebergs Melting
Jan Allen & Joanne Marion
Campbell’s flotilla of driftwood and scrap-metal vessels alludes to Victorian-era adventure narratives, 20th century industrial salvage, and the upheavals wrought by climate change. His work also echoes filmic and historical mythologies of battered ships, including the African Queen, the Civil war battleship Monitor, Franklin’s Erebus and Terror and the army of apocalyptic cars from the Road Warrior. Published with the Tom Thomson Gallery and Esplanade Gallery.
Agnes Etherington Art Centre (11/2009) 98 pp 8 x 5 in hardcover 978-1-55339-250-7 $22.00 Can. $24.00 U.S.
Karin Davie: Underworlds
Karin Davie is a leading artist in the current wave of painting practices transforming the legacy of high modernism to capture the fluid dynamics of contemporary culture: this is abstraction for the 21st century. Through bravura paint handling she achieves an improbable fusion of the cerebral with the emotional and the metaphorical with the performative. This first monograph features the breakthrough paintings of the early 1990s along with new works. Accompanying the full page plates are a selection of performance photographs, offering a glimpse of the conceptual underpinnings of a singular work. Davie has exhibited widely with a recent retrospective at the Albright-Knox Gallery. Born and trained in Canada, Karin Davie lives and works in New York.
Agnes Etherington Art Centre (08/2009) 32 pp 20 col. ill. 11 x 11 in hardcover 978-1-55339-095-4 $19.95 Can. $22.95 U.S.
When he was in high school in Texas, Eric Ryan Mims used a similar arrangement to detect underground nuclear tests in Nevada
Matt Rogalsky & Jan Allen
Inspired by a booklet published by Radio Shack, Rogalsky's audio installation takes the form of a tangle of circuit-boards and sensors registering minute vibrations of the gallery floor. The readings are processed into ambient sound. The installation touches on our relationship with the environment, including the widening band of surveillance.
Agnes Etherington Art Centre (07/2009) DVD & booklet 19 pp col. ill. 8 x 5 in hardcover 978-1-55339-087-9 $12.00 Can. $15.00 U.S.
The World Upside Down
Richard William Hill with Cheryl L’Hirondelle and Joseph Nayhowtow
The world upside down, as visualized by artists, is one in which the symbolic order is turned on its head: male and female, Black and White, Aboriginal and European. This publication of a group exhibition surveys the strategy of symbolic inversion used by contemporary artists, while also providing historical context on Western and Indigenous North American traditions of inversion. As an artistic strategy, inversion illuminates and challenges the visual conventions that police social hierarchies. In each inversion the artist turns a hierarchical dichotomy upside down. In most cases the dichotomy does not survive the experience, ultimately breaking down under the strain of its own absurdity and liberating us, if only for the moment, from its tyranny. The artwork discussed ranges from medieval tapestries to contemporary works by Terrance Houle, Rosalie Favell, T. C. Cannon, Renée Cox, Lori Blondeau, Shelley Niro, Roger Shimomura, Yinka Shonibare and General Idea.
Agnes Etherington Art Centre / Art Gallery of Greater Victoria / Musée d'art de Joliette (01/2009)
176 pp 43 col. ill. 11 x 7.5 in hardcover 978-1-894773-28-7 $29.99 Can $32.00 U.S.
The Bader Collection: Dutch and Flemish Paintings
David de Witt
The Bader Collection stands among the world's greatest private collections of Dutch and Flemish paintings from the Baroque era. For the past 40 years Dr. Alfred Bader of Milwaukee has been donating works to the Agnes Etherington Art Centre of his Canadian alma mater, Queen's University. This extraordinary collection demonstrates a rich interplay of interests and insights, at the same time drawing back the curtain on the motivations and principles behind these remarkable acquisitions, whose history dates back to 1950. This scholarly publication presents 200 paintings that form the collection's focus, with work by Rembrandt, Jan Lievens, Willem Drost, Jacob van Ruisdael, Philips Koninck and other luminaries. Exhaustively researched, each richly illustrated entry presents a painting in detail. An introductory essay explores the life of this remarkable collector and the motivations that have driven his pursuit of the art of the Dutch Golden Age with such passion and insight. David de Witt is a 17th century Dutch specialist and Bader Curator of European Art at the Agnes Etherington Art Centre. He is the author of Jan Van Noordt: Painter of History and Portraits in Amsterdam (McGill-Queen's University Press)
Agnes Etherington Art Centre (03/2008) 342 pp 455 ill (170 col.) 12 x 9 in. hardcover 9781553390947 $72.00 Can. $79.95 U.S.
Beyond the Silhouette: Fashion and the Women of Historic Kingston
M. Elaine MacKay
The city of Kingston is celebrated as one of the founding settlements of Canada. Over the generations in the attics of its fine old limestone houses were stored a treasure trove of women's garments - wedding and trousseau gowns, mourning apparel, party dresses - preserved today as the Queen's University Collection of Canadian Dress. Costume specialist M. Elaine MacKay provides an in-depth study of 20 garments dating from 1815 to the 1930s which opens a window onto the history of women and introduces a remarkable but little-known collection to the public. Beautifully illustrated with professional comments regarding all forms of stitching, sewing, patterns, and needle types of the era. An introductory essay outlines the historical context for the growth of the fashion industry and of the middle class in 18th and 19th century Canada.
Agnes Etherington Art Centre (07/2007) 82 pp 58 ill. 11 x 8 in softcover 978-1-55339-093-0 $29.95 Can./U.S.
Etherington House: Building a Legacy
This well-illustrated book tells the story of Agnes Etherington and her home's transformation into a public art gallery, and provides information on selected decorative arts on view in Etherington House. Among the artists discussed are Laura Knight, Grant Macdonald and Agnes Etherington herself.
Agnes Etherington Art Centre (05/2007) 39 pp 30 ill. (24 col.) 8.5 x 7 in softcover 978-1-55339-091-6 $11.95 Can./U.S.
Lyla Rye: Hopscotch
Hopscotch is an installation mixing digital video with space-transforming grid-lines inscribed across the gallery floor and walls, an aesthetically charged musing on habitation. Hayes, an architectural historian, sets the work in the context of the artist's long-standing engagement with architectural space.
Agnes Etherington Art Centre (12/2007) 38 pp 9 ill (6 col.) 7 x 5 $12.00Can./U.S.
Telling Stories, Secret Lives
Jan Allen, Steven Matijcio et al
Inspired by an upsurge in the use of narrative in contemporary art, this publication reconsiders installation and sculptural works by taking into account their narrative potential and by making tangible the imaginative trajectories they embody. To accomplish this, seven writers respond to works by seven artists. Through prose and poetry they take approaches ranging from counterpoint to empathetic engagement with their subject work. This inventive publication presents each text adjacent to its its subject image, an essay, as well as catalogue entries on each of the works with summary texts, artists' statements and bibliographical notes. Featured artists are Dorothy Cameron, Ian Carr-Harris, Robin Collyer, Vera Frenkel, Myfanwy MacLeod, Sandra Meigs and Terry Pfliger.
Agnes Etherington Art Centre (03/2007) 54 pp 7 col. ill. 8 x 6 in softcover 978-1-55339-088-6 $18.00 Can. US.
Neutrinos They Are Very Small
Jan Allen, Corinna Ghaznavi & Allison Morehead
Taking its title from a poem by John Updike, this publication and DVD pay homage to experimentation and the difficulty of representing and recording the mysteries of quantum mechanics. Three artists - Gordon Hicks, Rebecca Diederichs and Sally MacKay - produced works of art after visiting the internationally renowned underground research facility of the Sudbury Neutrino Observatory. The works engage with scientific method and emerging theories of subatomic physics through hands-on participatory labs and displays of individually and collectively produced art. The essays discuss the relationship between artistic and scientific processes, identifying common ground in their rule-bound productive play between hypotheses and always provisional proofs. Produced with the Art Gallery of Sudbury.
Agnes Etherington Art Centre (2006) 64 pp 48 ill (37 col.) 9 x 9 in softcover (with DVD) 978-1-55339-089-3 $22.95 Can./U.S.
"An Artist After All": Daniel Fowler in Canada
Dorothy M. Farr
The rural landscapes of watercolourist Daniel Fowler (1810 -1894) are among the most evocative images of nineteenth-century Canada. Direct and unsentimental, they capture the timeless cycle of life on the land. Emigrating from England, Fowler turned to painting after years of farming and soon established himself among Canada's first generation of professional artists. He also reflected upon his life and art in journals, an autobiography, and several short articles and stories. Colour plates, archival photographs and writings by the artist bear witness to the isolated life of a pioneer farmer and to the cultural aspirations on new Canadians in the country's formative years.
Agnes Etherington Art Centre (09/2006) 72 pp 20 col. ill. 12 x 10 in softcover 1-55339-090-3 $20.00
Sarindar Dhaliwal: Record Keeping
Sunil Gupta, Richard Fung, Janice Cheddie et al
Sarindar Dhaliwal was born in India, educated in England and has an established artistic practice in Canada. This internationally produced publication presents 15 years of an uvre born from a concern with the complex cultural background of Diasporic women who do not sit comfortably in their host societies and who question assumptions made about them. The work combines storytelling, painting and textile installations with print, media and video, resulting in lush and exotic pieces. Record Keeping was produced in collaboration with two of England's leading art organizations, the John Hansard Gallery and the Organization for the Visual Arts.
Agnes Etherinton Art Centre (2205) 48 pp 26 col. ill. 7 x 8.5 in softcover 1-899127-05-4 $23.00
Erik Edson: Fable
Jan Allen & Catherine Osborne
The latest multi-media installation of award-winning printmaker Erik Edson stages incongruous elements from Baroque painting and a grizzly bear, to planetary movement and cheesy rec-room decor. In her essay, Catherine Osborne examines the artistís method in the context of his wider practice and his engagement with the Wild Kingdom as subject. Jan Allen reads fable as a witty experiential musing on the acculturation of nature.
Agnes Etherington Art Centre (2004) 32 pp 17 col. ill. 6 x 7.5 in softcover 1-55339-086-5 $16.00
Ah, Wilderness! Resort Architecture in the Thousand Islands
Pierre de la Ruffinière du Prey & Dorothy Farr
The Thousand Islands of the St. Lawrence River is home to some of the world's most spectacular summer retreats. From the late 19th century on, industrialists from both Ontario and New York State built extravagant homes in order to get away from what was perceived as the sullying effects of the city. This richly illustrated volume examines the architects, the owners and the architectural and social histories they embody. Documentation of more than twenty individual residences built from the 1880s to the mid 1950s enable us to follow the growth of modern resort culture. Beautifully illustrated with archival photographs, blueprints and memorabilia.
Agnes Etherington Art Centre (2004) 128 pp 110 ill (72 col.) 10 x 8.5 in softcover 0-88911-543-5 $29.95
Jan Allen, Ihor Holubizky & Caroline Seck Langill
Essays trace the history of and current tendencies in robotic and interactive art through the work of Norman White and the artists he has taught and influenced over the past quarter century. The accompanying CD Rom highlights ten individual works. Produced in collaboration with the Koffler Gallery. Previously announced.
Agnes Etherington Art Centre (2004) 63 pp 26 ill (12 col) 8 x 7 in softcover 0-88911-918-x $20.00 Can,/U.S.
Gary Kibbins: Grammar Horses
Jan Allen & Gary Kibbins
Known for the absurdist humour, political acuity and intellectual depth of his work in film and video, Kibbins' multi-media installation explores the failure of syntax to guarantee meaning through a strategy the artist describes as atheistic evangelicalism. Kibbins mingles grammar, religiosity and tourism in audio, video and text-based components. Also included is Kibbins' concrete poetry-riff on the exhibition theme.
Agnes Etherington Art Centre (2003) 82 pp 18 ill. 9.5 x 6.5 in softcover 0-88911-916-3 $15.00
Connected: Contemporary Art in Kingston
Jan Allen (ed)
Co-produced with Modern Fuel Artist-Run Centre, this publication documents an innovative approach to a group exhibition in which artistic affinity functions as curatorial rationale. Through a process of cross-nomination, 18 artists selected other artists' works, each commenting upon the other. The relationship between artists and the issues that shape a regional art scene are explored throughout the essay and texts.
Agnes Etherington Art Centre (2003) 64 pp 30 ill (25 col) 10x8 in 0889119120 softcover $20.00 Can./U.S.
A Gift of Genius: A Rembrandt for Kingston
David de Witt & Angela Roberts Rembrandt's Head of an Old Man in a Cap, recently donated to the Centre is a rare firmly-attributed Rembrandt in a Canadian museum. With an illustrated essay.
Agnes Etherington Art Centre (2003) 6 pp. col. ill. 11 x 7.5 in 0-88911-904-X $5.00
Jan Allen, Jim Drobnick & Jennifer Fisher
Intended to expand the discourse on the role of the museum, these essays interrogate conventions of display and re-imagine how artifacts are exhibited and history is represented. Based on what may be the largest on-site event ever to be held in Canada, the publication explores fourteen site-specific installations and performances that intervened into museums devoted to the widest possible range of historical and social phenomena. Parings of artists with museums were "brilliantly made" (Nancy Tousley, Canadian Art) with, among others, Brian Jurgen in the Correctional Services of Canada Museum, Jamelie Hassan in the Museum of Health Care, Fastürms in the Museum of Geology and Mineralogy, and Joyce Wieland's 1967 video Sailboat projected on board the Museum Ship Alexander Henry. Produced in association with DisplayCult
Agnes Etherington Art Centre (2002) 112 pp col. ill. 9x7 in. softcover 0889119082 $22.00
Better Worlds: Activist and Utopian Projects by Artists
Jan Allen & Laura U. Marks
An examination of the relationship between individual and collective wills as they navigate the shifting matrices of economy and state. In works ranging from concrete, action-oriented proposals to poetic critique, artists seek to question or imaginatively re-configure assumed goals and power relationships. Better Worlds touches on the politics of urban space and homelessness, alternates in education, modes of dissent, the allure of corporate hegemony, class struggle and technological change, child poverty and globalization. Participants include Eleanor Bond, Luis Jacob and Mindy Yan Miller.
Agnes Etherington Art Centre (2002) 56 pp 9.5x8 in ill softcover 0889119120 $16.00 (Can./U.S.)
Who Means What: Brent Roe, Paintings 1992-2001
Roe's paintings combine gestural cursive lines with encapsulated words and phrases. Armstrong explores the subtle manipulation of visual conventions through the textual aspects as well as in its nods to popular culture. Brent Roe has exhibited nationally, most notably at the Southern Alberta Art Gallery and the Robert McLaughlin Gallery. With an interview.
Agnes Etherington Art Centre (2001) 24 pages, 18 ill. (11 col.) 9x8 in. 0889119066 $8.00
Laurel Woodcock: Take Me, I'm Yours
Jan Allen & Paul Kelley
Describing her work with video, DVD, and audio CD as "sentimental conceptualism", Laurel Woodcock has produced an oeuvre that is theoretically informed, subtly subversive and much more trenchant than may initially appear. In his essay on the video loop operetta, Kelley offers a lucid analysis of the work's capacity to generate a space of imaginative latitude through the interaction of Culture and Nature. Allen's thorough analysis of the Lured series brings to the surface a central concern in much of Woodcock's work: the estrangement of girls and women and the perennial issue of female self-scrutiny. Mimicking, 40s Hollywood melodrama and re-inventing Hitchcockian motifs from films like Marnie, Woodcock gives us cinematic characters who resist interpretation, manipulate perception and confuse assertion with dysfunction. The enclosed CD presents two works in the series, Lured I and Lured II.
Agnes Etherington Art Centre (2001) 47 pages 28 col. ill. 10x6.5 in. 0889118272 softcover with CD-Rom $16.00
Gretchen Sankey: Some of the Parts
Allen's essay examines the use of narrative in the art of the Toronto-based painter. Over the past decade her work has moved from the interrogation of dominant psycho-social narratives to an elaboration of fictive biography. Gretchen Stankey teaches at the Ontario College of Art.
Agnes Etherington Art Centre (2000) 19 p., 10 ill., 10x8 in. 0889117543 $7.50
Jim Drobnick & Jennifer Fisher
Salloum captures the aesthetic richness of the urban fabric in photographs taken on the streets of New York, Montreal, Vancouver, Los Angeles and Paris. A critical essay examines the oeuvre as well as the unusual jazz-like installation format deployed in its presentation. Salloum contributes an image/text project.
Agnes Etherington Art Centre. (1999) 48 p., 57 ill. (47 col.), 11x8 in 0889117527 $12.00
Crime and Punishment
Original essay exploring the representation of the criminal - in the crime scene or in the physiognomy of the criminal - as found in the work of four artists: Sheila Ayearst, Jonathan Eeles, Angela Grossman and Louise Noguchi.
Agnes Etherington Art Centre. (1999) 32 p., 11x9 in 19 ill.(4 col.), 1889117500 $12.00
Flaming Creatures: New Tendencies in Canadian Video.
Through a presentation of 17 tapes by 15 artists, this volume provides an overview of video-making in Canada. Includes discussion of, among others, Steve Reinke, Cathy Sisler and Nelson Henricks.
Agnes Etherington Art Centre (1997) 19 p., 19 ill., 10x7 in 0889117489 $6.00
Tapes that Think: Video Works by Steve Reinke, Tran T. Kim-Trang, Rodney Werden
Agnes Etherington Art Centre. (1996) 6 p., ill., 10x5.5 in 0889117020 $2.00
Recent work by Kingston area artists investigating systems of understanding. Includes: May Chan, Dave Gordon, Jocelyn Purdie, Maureen Sheridan, Bill Roff, and Scott Wallis.
Agnes Etherington Art Centre. (1997) 24 p, ill., 0889117489 $6.00
Germaine Koh: Persona
Three projects that point to our paradoxical capacity to generate a sense of intimacy with a perfect stranger. Two of the pieces are photo-based and the third involved insertions in the Personal Notices section of Kingston's daily newspaper
Agnes Etherington Art Centre. (1997) 28 p., ill. 0889117446 $7.00
Of Mudlarkers and Measurers
Works by Canadian and international artists that entail obsessive exploration of the materials and processes of daily life. Includes: Antoni Abad (Barcelona), Maria Fernanda Cardoso (San Francisco), Gwen MacGregor (Toronto), Lyndal Osborne (Edmonton) and Regina Silveira (Sao Paulo).
Agnes Etherington Art Centre. (1996) 23 p., ill., 088911742x $6.00
Rise and Fall: John Dickson, Laurie Walker.
Jan Allen (et al)
Essays on the work of the two Canadian sculptors.
Agnes Etherington Art Centre. (1996) 44 p., ill., 11x8.5 in 0889117063 $15.00 (hb)
Presentation of works in various media devoted to the theme of female fertility. Artists include Karen Spencer and Leslie Reid.
Agnes Etherington Art Centre. (1996) 24 p., ill., 10x8 in 0889117365 $7.50
Sophie Bellissent: In the Flesh
Agnes Etherington Art Centre. (1996) 6 p., ill., 11x8.5 in 0889117403 $2.00
Joyce Wieland: Twilight Record of Romantic Love (Out of print)
One of the last presentations of Canada's great multidisciplinary artist. A collection of line drawings devoted to love.
Agnes Etherington Art Centre. (1995) 32 p., 25 ill., 8.5x8.5 in 0889116687 $7.00
RX: Taking Our Medecine
Jan Allen, Kim Sawchuck
The authors situtate the work of five Canadian and two British artists within the context of the current shift toward a more critical stance vis-a-vis the medical system.
Agnes Etherington Art Centre. (1995) 47 p., ill., 10x7.5 in 0889116989 $8.00
The Female Imaginary
The work of seven feminist artists working in a variety of disciplines with an accent on painting and photo-based art.
Agnes Etherington Art Centre. (1994). 44 p., ill., 11x9 in 08891160097 $9.00
Tom Dean: Drawings 1985-1990. Agnes Etherington Art Centre. (1990) 20 p., ill., 9x6 in 0889115022 $10.00
Pictorial Incidents The Photography of William Gordon Shields
A native of Hamilton Ontario, Shields moved to New York in the early 1900s and became involved with the nascent photographic scene, whose principle voice at that time was Alfred Stieglitz. Stieglitz's gallery Photo-Secession and his periodical Camera Work were the focal point of photographic scene but there was dissension within the ranks. A group known as the Pictorialists (of whom Shields was one) rejected Stieglitz's insistence on hard-edged realism, seeking instead to identify the infant art with poetry, painting and sculpture.
Agnes Etherington Art Centre. 80 pages 58 ill. 10x6.5 in. 0889115044 softcover $12.00
A. A. Chesterfield Ungava Portraits 1902-04
William C. James
Photographic portraits of Cree and Inuit taken at the turn of the century by a photographer who lived among them. A clerk with the Hudson's Bay Company, Chesterfield moved to Great Whale River in 1902 where he took more then 200 photographs. His insistence on a straightforward mode of portraiture gives the work an uncommon power, suggesting an almost documentary intent. Chesterfield's own writings confirms his concern at finding these Northern peoples in a state of economic and cultural deprivation. His relentless depiction of the bleakness of poverty with no trace of sentimentality gives these portraits political connotations, reminding us of the later work of Dorothea Lange and Walker Evans.
Agnes Etherington Art Centre. 47 pages 20 ill. (18 plates) 11.5x8.5 in. 0889113734 softcover $10.00
Heritage Quilt Collection
Ruth McKendry & Dorothy Farr
An historical and cultural presentation of Eastern Ontario quilts from the early 19th century to today. McKendry relates the origins of the pioneer quilt (the new climate and the hard economic times faced by immigrants) and the occasions for its creation (a female child was expected to make the twelve quilts she would need as a bride). In response to contemporary feminism, quiltmaking has been redefined as an almost underground aesthetic movement, one that developed outside of the male-dominated realm of recognized "fine arts". Each of the 44 full-page colour illustrations is accompanied by an analysis of the history, material and purpose of each quilt..
Agnes Etherington Art Centre. 63 pages 44 col. ill. 8.5x10 in. 0889115397 softcover $12.00