Art Gallery of Alberta
Art Gallery of Alberta
Damian Moppett + Ron Moppett (Every Story Has Two Sides)This unprecedented pairing explores the commonalities and intersections of two major artistic practices. Ron Moppett has been one of Canada’s most prolific artists for 50 years and is renowned not only for his vibrant, large-scale paintings, but for his work as a teacher and curator. Damian Moppet has built an international career working in all forms of media, including photography, sculpture, painting, video, and drawing. They are also father and son. This exhibition catalogue looks at practices separated by generation and medium yet conjoined by an ongoing dialogue with the history of art. In their separate ways, both Ron Moppett and Damian Moppett investigate how artists throughout history have tried to resolve problems, such as those related to representation and of abstraction. Drawing inspiration from a variety of historical and cultural styles, Ron Moppett offers a diverse view of pop culture and a glimpse into the "dailiness" of life. A brilliant colourist, he distills shapes with oil and acrylic paint, creating complex picture puzzles that hold multiple layers of meaning. Damian Moppett employs a variety of media to explore art-historical movements. His self-reflexive engagement with his references highlights similarities that exist between seemingly divergent events and ideas. For him, art history is itself a rich medium in which to work. Featured side by side, their works embody an intriguing dialogue about the artist as both creative subject and site.
Patricia Kelly, Jonathan Shaughnessy and Nancy Tousley
The artists:The authors:
Born in England in 1945, Ron Moppett emigrated to Canada in 1957. He has exhibited extensively and two major surveys of his work have been organized by the Walter Phillips Gallery at The Banff Centre (1982) and Glenbow Museum in Calgary (1990). Ron Moppett's work can be found in many collections including the National Gallery of Canada, the Musée d'art contemporain de Montréal, the Art Gallery of Alberta, Glenbow Museum, and the MacKenzie Art Gallery. He lives and works in Calgary. Born in Calgary in 1969, Damian Moppett has exhibited widely, notably at the National Gallery of Canada, Vancouver Art Gallery, Witte de With (Rotterdam), Galerie Yvon Lambert (Paris), and the Rennie Collection at Wing Sang and Presentation House Gallery (Vancouver). Damian Moppett’s work can be found in the Museum of Contemporary Art Los Angeles, Vancouver Art Gallery and National Gallery of Canada. He lives and works in Vancouver.
Patricia Kelly is Associate Professor of Contemporary Art History at Emily Carr University of Art and Design. She has published numerous catalogue essays and journal articles. Jonathan Shaughnessy is Associate Curator of Contemporary Art at the National Gallery of Canada. He has contributed to numerous publications, notably Shine a Light: Canadian Biennial (2014) and The Painting Project: A Snapshot of Painting in Canada (2013). Nancy Tousley is an art critic and independent curator. She has contributed to numerous publications, notably Chris Cran: Sincerely Yours (2016) and The News from Here: 2013 Alberta Biennial of Contemporary Art.
Art Gallery of Alberta (11/2016) 96 pp col. ill. throughout 10.5 in x 9 in hardcover 9781771790208 $40.00 Can. $40.00 U.S.
An enlightening look at the influence of European expressionism on the work of modernist artists of the Canadian West. Evocative of the postwar social climate, the perspective these artists offer can be unsettling, uncanny and disturbing. Viewed together, their work brings a perspective to the province and its people that belies the myth of Alberta as a land of beauty and prosperity. With an impassioned approach to their subject matter, their works are intensely composed, executed with strong colours and distorted space. They are moved by the hardships of modern life and its contradictions, and in their works, melancholy contrasts with the vibrancy of everyday life. Mothers and children are featured in this feast of the strangely familiar, as are still-lives and landscapes. There are spectacles of clowns, fortune-tellers, nightclubs and circuses, and tales of ghosts and scarecrows. The accompanying essays trace the circulation of ideas between these artists and other artists across North America, which occurred through their own travels, cultural periodicals, as well as touring exhibitions in which these artists both participated in and visited. Their endeavours did not grow out of a desire for a strictly regionalist practice, but are embedded in a larger international discourse. Artists featured are: Maxwell Bates (1906-1980), Laura Evans Reid (1883-1951), John Snow (1911-2004), W.L. Stevenson (1905-1966) and Dorothy Henzell Willis (1899-1988).
Rough Country: The Strangely Familiar in Mid-20th Century Alberta Art
Ruth Burns and Mary-Beth Laviolette
Art Gallery of Alberta (10/2016) 56 pp col. ill. 9.5 x 7 in softcover 9781771790192 $25.00 Can. $27.00 U.S.
A Parallel Excavation: Duane Linklater & Tanya Lukin Linklater
Erin Sutherland and Tiffany Shaw-Collinge with Duane Linklater and Tanya Lukin Linklater
Two artists consider the complex relationships of Indigenous peoples to institutions, museums and galleries. Duane Linklater investigates the structure and materiality of the physical structure itself, including its gypsum, wood and steel, while considering the political implications of those materials as extracted resources. In his exploration he questions what is revealed: " How do Indigenous artists articulate, disfigure or blur the outcomes of an excavation particularly in the gallery or museum space?" Tanya Lukin Linklater's sculptural work builds on the idea of the gallery itself, investigating this cultural institution as a site where critical modes of discourse converge. By excavating the Art Gallery of Alberta's archival records, she explores the conceptual spaces between Indigenous peoples, Indigenous art histories and museums that pose the question: "How does the institution perform?" Duane Linklater is Omaskêko Cree, from Moose Cree First Nation in Northern Ontario. He has exhibited at the Vancouver Art Gallery, Institute of Contemporary Arts (Philadelphia), and the Utah Museum of Fine Arts. His collaborative film project with Brian Jungen, Modest Livelihood, was presented as at dOCUMENTA (13), Logan Center Gallery at the University of Chicago and the Art Gallery of Ontario. Duane Linklater was the 2013 recipient of the prestigious Sobey Art Award. Tanya Lukin Linklater's performances, videos, photographs and installations have been exhibited at EFA Project Space + Performa Festival (New York), SBC Gallery (Montreal), Western Front (Vancouver), and Museum of Contemporary Canadian Art (Toronto). In 2016 she will present performances at Centre Phi (Montreal), Remai Modern (Saskatoon) and the Morris and Helen Belkin Gallery (Vancouver). She is Alutiiq from Alaska and makes her home in Northern Ontario, Canada. Erin Sutherland and Tiffany Shaw-Collinge are members of the Ociciwan Contemporary Art Collective. Based in Alberta, the collective supports the work of Indigenous contemporary artists, engages in both local and global contemporary critical dialogue, and encourages research, production, and awareness of Indigenous contemporary art practices.
Art Gallery of Alberta (06/2016) 32 pp col. ill. 10.75 x 8.25 in softcover 9781771790178 $18.00 Can. $20.00 U.S.
Caulfield’s two-story-high site-specific installation is composed of 48 hand carved maple panels fashioned into a six-by-nine meter wall. Typically utilized in the printmaking process, the relief work of the woodblock panels is presented as an artwork in itself. Two symbolic structures form the central images: a house and a wood-burning machine. From the machine, a giant column of smoke snakes upward, turns to the house, and rains down fire; water rises everywhere. The images resonate in oil-producing Alberta with its ravaged lands and urban floods and reflect the artist’s own life: born into a family of oil-workers and with extended family living near Japan’s Fukushima disaster. The work’s universal message is evoked by its mythical title, and echoes of Hieronymus Bosch are not fortuitous. Merging anxiety with hope, the piece evokes the apocalyptic crisis facing the world's ecosystem. Sean Caulfield has exhibited his prints, drawings and book works extensively throughout Canada, the United States, Europe and Japan. This is the first publication dedicated to his work. Sky Goodden is the founding editor of Momus, an international online art publication. She was the founding editor of Blouin Artinfo Canada and writes regularly for Canadian art reviews.
Sean Caulfield: The Flood
Art Gallery of Alberta (04/2016) 47 pp 16 col. ill. 9.5 x 7 in softcover 9781771790161 $15.00 Can. $17.00 U.S.
Future Station: 2015 Alberta Biennial of Contemporary Art
What does it mean to be an artist in Alberta, famous for its spectacular Rocky Mountains and its controversial oil sands? Rather than producing the showy artworks usually associated with the vagaries of a boom economy, the 42 artists selected for this second biennial exhibition do just the opposite - exploring psychology, natural forces, detritus and austerity. Psychology is a dominant topic aligning the work of numerous explorations in both creative methodology and the effect on a viewer, ranging from depictions of anxiety to futility, heartbreak, and devotion to an other. Natural forces reference several of the dramatic natural disasters that have occurred in Alberta over the last few years, notably floods, wildfires and drought. Detritus is a theme related to the influences of post-recession art indicative of surviving within a creative climate of wealth and boomtown economic disparity; with a focus on entropic decay and its symbolism, artists are making do with little and finding much in the remains of what is left behind. Finally, an overall aesthetic of austerity emphasizes the beauty and devastation of the post-industrial landscape and a self-depreciating social habitat for artists. This manifests as a unique visual vocabulary employed in both material choices, brute presentation, and applied delivery of artistic experience. The publication’s title is drawn from an unused transit platform in downtown Edmonton and serves as a metaphor for the status of contemporary visual culture in Alberta: potential awaiting recognition.
The artists: Arbour Lake School, Ashleigh Bartlett, Kyle Beal, Brittney Bear Hat, Devon Beggs, Nika Blasser, Christian Bök, Steven Cottingham, Hannah Doerksen, Joseph Doherty, Brenda Draney, Gordon Ferguson, Calgary Jason Frizzell, Sarah Fuller, Jude Griebel, Aryen Hoekstra, Dara Humniski, Mary Kavanagh, Kristen Keegan, Robin Lambert, Mathieu Lefèvre, Tyler Los-Jones, Amy Malbeuf, Travis McEwen, Brendan McGillicuddy, Jay Mosher, Yvonne Mullock, Wil Murray, Brad Necyk, Ali Nickerson, Erik Osberg, Josée Aubin Ouellette, Giulliano Palladino, Evan Prosofsky, Scott Rogers, Erin Schwab, Sergio Serrano, Leslie Sharpe, Jill Stanton, Alma Louise Visscher, Adam Waldron-Blain, Nicole Kelly Westman.
Art Gallery of Alberta (02/2015) 136 pp col. ill. 9.5 x 7 in softcover 9781771790093 $21.99 Can. $25.99 U.S.
Lyndal Osborne: Bowerbird, Life as Art
Tracing the nearly 40-year artistic practice of the nationally renowned artist - from the earliest print works to today's large-scale sculpture and complex installations - this publication presents a career overview of the Australian-born Canadian artist. Osborne’s creations are densely woven, deeply layered constructions of natural materials. Through observing, collecting and manipulating material from the world around her, she is able to enhance our understanding of both the natural world and the place in which we live. Consistent in all of Osborne’s work is a fascination with the processes of growth and decay, life and death. Her work speaks of the possibility of infinite transformation, yet, also reminds us of the fragility and impermanence of the world and our place within it. Bowerbirds are known for their practice of building nests and decorating them with sticks and brightly coloured objects, an apt metaphor for the artist's practice. Lyndal Osborne immigrated to Canada from Australia in 1971 and was instrumental in establishing both the Printmaking Department at the University of Alberta as well as their Print Study Centre. Osborne’s work has been featured in numerous group and solo exhibitions at venues at, notably, the Glenbow Museum, the Southern Alberta Art Gallery, the Kelowna Art Gallery and the Kamloops Art Gallery.Catherine Crowston is Executive Director and Chief Curator of the Art Gallery of Alberta and author of numerous publications notably, Misled by Nature: Contemporary Art and the Baroque.
Art Gallery of Alberta (02/2014) 68 pp 40 col. ill. 10 x 10 in softcover 9781771790048 $25.00 Can. $30.00 U.S.
The News from Here: 2013 Alberta Biennial of Contemporary Art
The 2013 Alberta Biennial of Contemporary Art represents the diversity of Alberta’s contemporary art practices and investigations, and provides a framework through which we can see how contemporary art is shaped by and shapes different perceptions of time and place. Created in 1996 to showcase the work of current Alberta artists, the theme of the 2013 Biennial is post-regionalism. Tousley’s curatorial premise looks at how artists today are grounded in the place that they live and work, while recognizing that they live and work globally and are connected to an art world that is international in its scope. Featured artists are: Trevor Anderson, Kyle Armstrong, Noel Bégin, Elisabeth Belliveau, Richard Brown, Eric Cameron, Bruno Canadien, Sherri Chaba, Chris Cran, Alysha Creighton, Dave and Jenn, Amanda Forbis and Wendy Tilby, Mackenzie Frère, Sarah Fuller, Jason de Haan and Miruna Dragan, Faye HeavyShield, David Hoffos, Terrance Houle, Gary James Joynes, Kristopher Karklin, Emily Luce, Eric Moschopedis and Mia Rushton, Robyn Moody, Pamela Norrish, Gabrielle Paré, Taras Polataiko, Laura St. Pierre, Jewel Shaw, Larissa Tiggelers, Laura Vickerson, Jennifer Wanner, Donna White and Maria Whiteman.
Art Gallery of Alberta (01/2013) 96 pp 60 col. ill. 7 x 5 in softcover 9780889501706 $20.00 Can. $24.00 U.S.
Alberta Mistresses of the Modern 1935–1975
The role that Alberta women artists played in the establishment of a viable art scene in an often indifferent or hostile environment, and how their own artistic efforts struggled against traditions of the past, is revealed through the telling of ten lives. The times these women lived were nor without turmoil; they weathered the Depression and shortages of war, either as single women supporting themselves or as wives and mothers, all the while pursuing their own work and participating in nascent visual arts groups. The main essay, a thorough overview of the artists and their times, is accompanied by individual presentations of ten artists. They are: Annora Brown (1899-1987), Sibyl Budde Laubental (1918-1961), Thelma Manarey (1913-1984), Janet Mitchell (1912-1998), Marion Nicoll (1909-1985), Laura Evans Reid (1883-1951), Margaret Shelton (1915-1984), Helen Stadelbauer (1910-2006), Ella May Walker (1882-1960), Dorothy Henzell Willis (1898-1988). Published to accompany the exhibition presented at the Art Gallery of Alberta, 10 March–3 June, 2012. Please note: available only in hardcover.
Art Gallery of Alberta (08/2012) 80 pp 42 ill (27 col.) 10.25 x 10.25 in hardcover 978-0-88950-164-5 $40.00 Can. $44.00 U.S.
Rearview Mirror: New Art from Central & Eastern Europe
Christopher Eamon, Zoran Eric and Andrzej Szczerski
Publication showcasing a new generation of artists from diverse backgrounds and histories of Central and Eastern Europe. Looking both to the past and the future, these 22 artists engage post-conceptual strategies and forms and collectively challenge accepted notions of Eastern Europe as a social, political and art historical monolith. Three essays are accompanied by individual presentations on each participating artist. Christopher Eamon has curated exhibitions at MoMA PS1 (New York) and the Hamburger Bahnhof Museum for Contemporary Art (Berlin). Zoran Eric is curator at Museum of Contemporary Art (Belgrade). Andrzej Szczerski teaches at the Institute of Art History (Krakow). Published with The Power Plant to accompany the exhibition presented by the Art Gallery of Alberta from January 28 to April 29, 2012.
Art Gallery of Alberta (2011) 99 pp 44 ill (22 col.) 11.25 x 9.25 in hardcover 978-0-88950-160-7 $45.00 Can. $49.00 U.S.
Brian Jungen: Carapace
Michael Turner and Candice Hopkins
Carapace is an igloo-like structure resembling a turtle shell made up of an assortment of industrial waste bins: familiar trash and recycling containers form a structure that can contain us. Carapace was initially created for the FRAC des Pays de la Loire, France. Jungen then completely reconfigured the piece for his solo exhibition at the Smithsonian National Museum of the American Indian, Washington. This publication documents and illustrates Jungen's new and ultimately final configuration of the work.
Art Gallery of Alberta (2011) 80 pp 30 col. ill. 9.5 x 6.in softcover 978-0-88950-161-4 $40.00 Can./U.S.
Art Gallery of Alberta: Randall Stout Architects
Photo essay by Edward Burtynsky
The book documents the various stages of the construction of the new Art Gallery of Alberta building, designed by Randall Stout Architects. Structured in reverse chronology, the book begins with the final built structure, and moves back in time through construction, design, inspiration and ends with a brief history of the Art Gallery of Alberta prior to the move to its new home in 2010. The book also features a special photo essay by renowned Canadian artist Edward Burtynsky, commissioned by the AGA at the beginning of construction in 2008. This book elucidates some of the complexity of the new Art Gallery of Alberta and its construction, revealing how words and ideas became a building.
Art Gallery of Alberta (2010) 183 pp 124 ill (102 col.) 11 x 10 in hardcover 978-0-88950-152-2 $75.00 Can. $85.00 U.S.
Koshashin: The Hall Collection of 19th Century Photographs of Japan
These photographs reflect the transitional period from 1860 to 1899, when feudal Japan was opening to the outside world and yielding to modern influences. The country had re-opened its borders to foreign trade, visitors and residents in 1859, after a self-imposed isolation of more than 200 years. The publication includes works by both Western and Japanese photographers, who used unwieldy, large-format cameras, paper and glass plate negatives.
Art Gallery of Alberta (2009) 144 pp 100 col. i.ll. 8.5 x 10.5 in softcover 978-0-88950-151-5 $35.00 Can./U.S.
Art Gallery of Alberta (2008)
54 pp 40 col. ill. 8.5 x 8.5 in softcover
John Geiger and Marcus Miller
Art Gallery of Alberta (2008)
62 pp 55 col. ill. 8.5 x 8.5 in softcover
The Road: Constructing the Alaska Highway
Ken Coates, Andrew Hunter and Catherine Crowston
Art Gallery of Alberta (2007)
160 pp 125 ill. 10 x 8 in softcover
The Other Landscape
Art Gallery of Alberta (2004)
72 pp 60 col. ill. 7.5 x 6 in softcover
Rob, Terry and Tom O’Flanagan: Field Notes
Art Gallery of Alberta (2004)
40 pp 20 col. ill. 10.5 x 8 in softcover
The Post-Colonial Landscape
Art Gallery of Alberta (2007)
100 pp 60 col. ill. spiralbound
The Canadian Club 1907-1915
Dr John J. Lamb
Art Gallery of Alberta (1988)
96 pp 80 ill. 11.5 x 8.5 in softcover
Harvest of the Spirit: Illingworth Kerr Retrospective
Art Gallery of Alberta (1985)
62 pp 30 col. ill. 8.5 x 10 in softcover
Dorothy Knowles: Paintings 1964-1982
Art Gallery of Alberta (1983)
36 pp 30 col. ill. 8 x 10 in softcover