MOUNT SAINT VINCENT UNIVERSITY ART GALLERY
An Intimate Distance
Ingrid Jenkner and Gloria Hickey
An examination of three multi-component works: Andrea Ward’s Hairstories, Glynis Humphrey’s Gorge and Suzanne Swannie’s Considering Two Small Forms, for Maja and Marta. Apart from illuminating body image issues and other details of women’s lives, these works hold in common a distinctive “aniconism”- the avoidance of figurative depictions of women’s bodies. They exemplify a critical tendency in Second-Wave feminist art-making: the commitment to engage with women’s subjectivity while at the same time refusing to depict women’s bodies as objects of “the gaze”.
MSVU Art Gallery (01/2016) 40 pp col. ill. 9 x 6 in softcover 9781894518734 $20.00 Can. $20.00 U.S.
Video, photographs, and graphic works drawn from the fields of anthropology, psychology and sociology, examine youth and youth cultures in the Canadian context. The artists document young people - their bodies, expressions, and movement - while investigating their tastes, thoughts, clothing styles, methods of communication, and leisure activities. The resulting artworks suggest an underlying desire on the part of the artists to capture the “essence” of youth or at least to affiliate themselves with the coveted values typically associated with this group: freedom, escape, authenticity, expressivity, creativity, and idealism. Artists: Jo-Anne Balcaen, Sarah Febbraro, Kerri Flannigan, Emmanuelle Léonard, Kyla Mallett, Helen Reed, Guillaume Simoneau, Althea Thauberger.
Kids These Days
Ingrid Jenkner and Zoë Chan
MSVU Art Gallery (01/2016) 48 pp col. ill. 9.5 x 6 in softcover 9781894518741 $20.00 Can. $20.00 U.S.
Bridget Moser: Is this thing on?
Sarah Hollenberg and Stefan Hancherow
The Toronto-based artist’s video and performance work integrates modern dance, experimental theatre, monologue, prop comedy and pop music. In his comments on the new video Memory Foam, curator Stefan Hancherow observes the artist’s skillful linking of artworld and consumer commodity fetishism. Art historian Sarah Hollenberg examines the semiotic workings of the three older works: So What?!, Asking for a Friend, and Tender Offer Part. At the same time, she situates Moser’s oeuvre historically “in a long line of meaning-makers, outclassed but clever, sparring playfully with the behemoth of mass culture.” This is the first monograph dedicated to the artist’s work.
MSVU Art Gallery (06/2015) 36 pp. col. ill. 8 x 6 in softcover 9781894518680 $10.00 Can. $12.00 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.
Mount Saint Vincent University Art Gallery / Agnes Etherington Art Centre (09/2014) 68 pp col. ill. 10 x 8 in softcover 9781553394037 $30.00 Can. $35.00 U.S.
Publication accompanying a video installation about what it means to be a girl in the 21st century. The aspirations of teen-aged girls were recorded with individuals from communities across Canada: Inuit in Kugluktuk, Nunavut; trans-gender in Halifax, Nova Scotia; Jewish in Toronto, Ontario; and Congolese, Rwandan, Ethiopian and Sudanese immigrants in Winnipeg, Manitoba. The girls aged 13 to 23 appear in a 17-minute, four-screen projection. This project represents the first collaboration between siblings Noam Gonick, the renowned Winnipeg filmmaker, and Dr. Marnina Gonick, Canada Research Chair in Gender at Mount Saint Vincent University, Halifax. Sitting at the intersection of ethnography and art, their joint work provides insight into the question of how audio-visual media can open new possibilities and ways of knowing in social research. Noam Gonick is a Canadian filmmaker and artist. His films include Hey, Happy!, Stryker, and Guy Maddin: Waiting for Twilight. His work frequently deals with themes of homosexuality, social exclusion, dystopia and utopia. Marnina Gonick is the author of numerous books and articles notably Between Femininities: Ambivalence, Identity and the Education of Girls (SUNY Press, 2003).
Voices in Longitude and Latitude
Marnina Gonick and Noam Gonick
MSVU Art Gallery (06/2014) 32 pp col. ill. 7.5 x 5.5 in softcover 9781894518703 $20.00 Can. $24.00 U.S.
August Sander: Objective Romantic
Considered one of the great 20th century photographers, August Sander’s career spanned the pre-World War I, Weimar and National Socialist periods. Sander’s grand project was to compile a collective portrait of the German people and he set about this task by photographing persons from all walks of life, according to his own idiosyncratic and constantly changing categories of social “types.” While his portraits record the social stratifications of the era, his perceptive, dignified treatment of each sitter overrides the prevailing distinctions between classes and races. George Steeves traces Sander’s career chronologically, showing how the photographer’s personality won the trust of his sitters and protected him from Nazi persecution. It concludes with a discussion of the posthumous editions of Sander’s projected People of the 20th Century (more than 600 portraits), the book he had always dreamed of but was unable to realize. Steeves’s long experience as a portrait photographer informs the sharp insights provided in his interpretation of specific photographs such as A Middle-Class Family, Cologne, 1923. In the manner of Eugenia Parry, Steeves’s entirely fictional account of Sander’s portrait session with General Stieff reveals an uncanny empathy with Sander’s professional methods. Contains an extensive bibliography.
MSVU Art Gallery (09/2013) 48 pp 17 bw ill. 10 x 8 in softcover 9781894518697 $25.00 Can. $29.00 U.S.
Kim Morgan: Range Light
For Kim Morgan, the dilapidated range light that used to guide passenger ferries into a Prince Edward Island harbour is more than a memory of times past. Using latex rubber reinforced with mosquito netting, Morgan casts imprints of the exter ior and interior surfaces of the range light. Embedded in the rubber are flakes of loose paint and faint impressions of graffiti which preserve a haunting trace of the building’s descent from utility into neglect. Sewn together, the interior and exterior sections span sixty feet, incorporating more than 2000 square feet of latex. In its paradoxical expression of the relationship between inert materiality and living presence, Kim Morgan’s soft architecture makes an unprecedented contribution to the scope of contemporary sculpture in Nova Scotia.
MSVU Art Gallery (02/2012) 36 pp 20 col. ill. 10 x 7 in softcover 978-1-894518-58-1 $20.00 Can. $23.00 U.S.
Susanna Heller: Intensive Care
For decades, Susanna Heller has distilled the peripheral landscapes of New York City in her wildly expressive, near-abstract drawings and paintings. Figures rarely appeared in Heller’s work before March 2010, when her husband was hospitalized with a devastating illness. To cope with the anxiety, during her bedside vigils Heller began to draw her agonized, silent husband and his setting. In her catalogue essay, Karen Wilkin compares the new drawings with Heller’s urban paintings, “The passive figure isolated on the bed, the complicated surroundings of the life-sustaining hospital equipment, the glimpses of an iconic view of the city outside the window all become, spatially and pictorially, elements in a ‘landscape that we recognize from her urban images, with their elastic space and fractured viewpoints.”
MSVU Art Gallery (02/2012) 24 pp 15 col. ill. 10 x 6 in softcover 978-1-894518-63-5 $15.00 Can. $17.00 U.S.
Robert Tombs: The Morality of Paint
This 2011 publication documents an installation made by the artist in Germany in 2008. Erfurt Window is comprised of a painted obfuscation of a communist-era bookstore’s showcase windows in Erfurt, Germany. Robert Tombs is a graphic designer and visual artist whose award-winning print-based collaborations with artists, art galleries and academic presses are in numerous collections including the National Gallery of Canada and Columbia University. Published with Modern Fuel. In English and German.
MSVU Art Gallery (2011) 32 pp 24 col. ill. 9.5 x 6.5 in softcover 9780987769701 $15.00 Can. $17.00 U.S.
Lisette Model: A Performance in Photography
Photographer Lisette Model (1901-1983) is equally renowned for her shoot-and-run portraits of strangers and her mystification of her own life story. George Steeves, himself a celebrated photographer with similar interests to those of his subject, examines and extrapolates upon the life of this great photographer. Viewing Model as a performer as much as a photographer, he dissects her art, technique, and tumultuous working life as lived in three distinct acts. To do so he has selected specific works from Model's extensive portfolio. George Steeves has been making photographs for 30 years. His work has been widely exhibited at public galleries such as the Canadian Museum of Contemporary Photography (Ottawa), the Saidye Bronfman Centre (Montreal), Centre international d’art contemporain de Montreal, and the Louisiana Museum of Modern Art (Denmark).
MSVU Art Gallery (09/2011) 48 pp 14 bw ill 10 x 8 in softcover 978-1-894518-62-8 $20.00 Can. $23.95 U.S.
Earth Skins: Three Decades of Drawing by Susan Wood
Susan Gibson Garvey
For thirty years Susan Wood has maintained a studio practice rooted in the principles of observational drawing. Meticulously rendered in a variety of graphic techniques, often on sumptuously textured handmade papers, these works embody the idea of finitude, reflecting the poignancy of brief lives and the fragility of temporal existence. They have been presented in solo and group exhibitions, including Taxonomies (1999) and Florilegium (2003) and discussion of Wood's works transpires within the frameworks of geography, museology and scientific illustration. Susan Wood lives and works in Halifax, Nova Scotia. Published with the Owens Art Gallery.
MSVU Art Gallery (09/2011) 56 pp 46 col. ill. 12 x 8 in softcover 978-1-894518-61-1 $20.00 Can. $23.95 U.S.
Dirt, Detritus & Vermin: Cal Lane, Sarah Saunders, Janice Wright Cheney
Three contemporary artists create environments which, through paradoxical twists and trompe-l’oeil, depict the perverse interspace of abjection with objects and spaces that are unseemly and repellent.
MSVU Art Gallery (09/2011) 6 page foldout. col. ill. 978-1-894518-60-4 $5.00 Can. $6.00 U.S.
Lucky Rabbit: Debra Kuzuk & Ray Mackie in an Ancient Garden
The collaborative potters Debra Kuzyk and Ray Mackie have practiced in the Annapolis Valley since 1999. Gloria Hickey has worked with the artists to develop the concept of the “ancient garden,” which refers to Kuzyk’s decorative motifs inspired by ancient Islamic sources, Chinese wares of the Song Dynasty and also to the pervasive aesthetic of the pastoral in Nova Scotian arts.
MSVU Art Gallery (05/2011) 22 pp col. ill. 7 x 8.5 in softcover 978-1-894518-59-8 $15.00 Can. $17.00 U.S.
Susan Feindel: See Below
Susan Feindel is known for her experimental approach to landscape painting and her espousal of environmental causes. This publication features paintings inspired by the artist’s voyages on oceanographic research ships, during which the ocean floor is viewed using sonar side-scan technology. Fiendel’s unstretched, ink-painted canvases suggest a submerged, downward-looking view of the benthic habitat. Also discussed is a series of perforated ink and wash North Atlantic “map” drawings evoking the migratory movements of sea creatures. Two essays and an artist’s statement.
Mount Saint Vincent University Art Gallery (09/2010) 32 pp col. ill. 11 x 6.5 in softcover 978-1-894518-54-3 $20.00 Can. $23.95 U.S
Somewhere Along the Line
Katie Belcher & Ingrid Jenkner
Publication of a group exhibition of two- and three-dimensional drawings by Lucie Chan, David Dahms, Michelle Gay, Massimo Guerrera, Sophie Jodoin, Anne Macmillan, Audrey Nicoll, Ed Pien and Lucy Pullen. Amplifying the emphasis on process-oriented execution, the drawings selected depict motifs in transition - dissolving, connecting, fusing and forming.
Mount Saint Vincent University Art Gallery (11/2009) 48 pp 24 col. ill 8.5 x 8.5 in softcover 978-1-894518-52-9 $20.00 Can. $21.95 U.S. (16€)
Suzanne Caines: The Encounter
On-camera interviews with people who are unaware they are being filmed are transmitted live to monitors in the gallery. By refusing to comply with the demand for accountability, Caines expands the definition of relationist aesthetics to include the concept of “relational antagonism”.
Mount Saint Vincent University Art Gallery (06/2009) 10 pp col. ill. 9 x 4 .5 in accordian fold 978-1-894518-48-2 $5.00 Can. $6.00 U.S. (3 euros)
Suzanne Swannie textil : Danish Modern
Ingrid Jenkner, Rachel Gotlieb, Sheila Stevenson & Ron Shuebrook
This retrospective publication documents the weavings and textile installations of Suzanne Swannie. Since the 1970s the Danish-born artist has created functional textiles, tapestries and large architectural installations for private and public environments. Both the woven works and the constructions display the “Danish Modern” principle of repetition of modular units as a means of generating surfaces and structures, with a typical emphasis on rich colour harmonies. Swannie moves adroitly between industry, craft and the art world, gaining from each, apologizing to none. The authors situate Swannie’s work in relation to historical modernism and provide a chronology of the artist’s 40-year career.
Mount Saint Vincent University Art Gallery (10/2008) 64 pp 20 col. ill. 10 x 8 in softcover 978-1-894518-47-5 $20.00 ($24.00 U.S. / 16 euros)
Kyla Mallett: Marginalia
The Vancouver-based photographer borrows from the aesthetics of 1960s conceptual art and applies pseudo-sociological archiving to reveal networks of communication within various social milieus.
Mount Saint Vincent University Art Gallery (08/2008) 16 pp col. ill. 6.5 x 4.5 in accordian foldout 978-1-894518-46-8 $8.00
Donigan Cumming: Ex Votos
Cumming is known for his staged portraits of the aging, ill and socially assisted poor, in the form of photographs, videos and photographic collages. Davis analyzes the Christian rhetoric that pervades the work.
Mount Saint Vincent University Art Gallery (08/2008) 16 pp col. ill. 6.5 x 4.5 in accordian foldout 978-1-894518-45-1 $8.00
Suzanne Crowdis, Ingrid Jenkner & Bruce Campbell
Three university art galleries celebrate the 30 year anniversary of Visual Arts Nova Scotia, the provincial membership organization of Nova Scotian visual artists, with three distinct expositions. With the participation of several artists and the three gallery curators.
Mount Saint Vincent University Art Gallery (07/2008) 36 pp col. ill. 9 x 6 in 978-1-894518-42-0 $10.00 ($12.00 U.S. / 8 euros)
Chemistry: Attraction and Reaction in the Art of Arthur Handy, Dan O’Neill, George Steeves and Reed Weir
Showcasing new acquisitions while exploring affinities between the works, Chemistry includes fine photographic prints by Steeves, hand-pulled lithographs by O’Neill, and ceramic sculpture by Reed Weir and the late Arthur Handy. Each artist’s process involves complex chemical interactions and demands technical knowledge.
Mount Saint Vincent University Art Gallery (09/2008) 41 pp 12 col. ill, 6.5 x 9 in softcover 978-1-894518-43-7 $10.00 ($12.00 U.S. / 8 euros)
Frances Dorsey: Saigon
Leah Garnett, Pat Hickman and Frances Dorsey
Frances Dorsey works in cloth as a way of engaging critically with painting and of bringing global themes within the scope of family life and domestic practices. Much of her work includes photo-derived images of war. Her murals, created from distressed, pieced-together and salvaged cloth, offer a pointed critique of the tradition of history painting in which large paintings on canvas glorify war. Her work is particularly pertinent as she spent much of her childhood in Saigon in the 1950s and, accompanying the main essay, she offers several short personal reminiscences of life in pre-war Viet Nam as seen through the eyes of a child.
Mount Saint Vincent University Art Gallery (11/2007) 48 pp 11 col. ill. 11 x 7.5 in softcover 978-1-894518-41-3 $15.00 Can./U.S. (12 euros)
George Steeves: Photographs
Ingrid Jenkner & Peter Schwenger
For over twenty years the Canadian photographer has been creating staged eroticized performances with himself and his friends as subjects. Positioned at the convergence of disciplines, Steeves's practice is marked by a frank, unidealized nudity within a context of cultural erudition. Presented here for the first time (and nearly never presented at all), the Excavations series has affinities with the work of Robert Mapplethorpe and Pierre Molinier, yet is distinguished by Steeves's meticulous theatricalization. Recovering from the apparantly casual nudity, the viewer will appreciate the minutely orchestrated motifs, settings, poses, gazes and personae drawn from opera, theatre and painting. In her introduction Jenkner states that the exhibition and its publication are intended to "redress the denial of exhibition opportunities in English-Canadian curatorial venues that has censored Steeves's work". Most recently George Steeves has exhibited at Nederlands Foto Instituut and Denmark's Louisiana Museum of Modern Art.
Mount Saint Vincent University Art Gallery (03/2007) 48 pp 25 ill. 11 x 8 in softcover 978-1-894518-37-6 $20.00 Can./U.S. (16 euros)
Glynis Humphrey: Breathing Under Water
Heather Anderson & Nicole Gingras
Humphrey's multi-media installation provides an array of acoustic, tactile and visual stimuli, but contains no verbal components. As in previous works, the artist evokes a sensuous, yet monstrous feminine presence that can be both threatening and immersive. Heather Anderson is assistant curator of contemporary art at the National Gallery of Canada. Nicole Gingras has published numerous publications on visual and sonar perception. Accompanied by an interview with fellow artist Eleanor King. A first monograph an the Welsh-born Canadian artist.
Mount Saint Vincent University Art Gallery (09/2006) 48 pp 10 col. ill. 8 x 6 in softcover 1-894518-32-2 $15.00 Can./U.S.(12 euros)
Michael Fernandes: Room of Fears
Jayne Wark & Peter Dykhuis
'Room of Fears' is one of Fernandes' signature performance installations. Prior to the exhibition the artist invites members of the public to anonymously submit phrases in which they outline their fears. He then transcribes them onto a room-sized black board, thereby creating a physical incarnation akin to automatic writing. The authors explore this and other works by Fernandes in terms of their capacity to transform private experiences into public testimonies.
Art Gallery Mount Saint Vincent University (09/2006) 72 pp 23 ill. 5 x .5 in 1-894518-34-9 $8.00 Can./U.S. (6 euros)
Epistrophe: Wall Paintings by Denyse Thomasos
M. NourbeSe Philip, Franklin Sirmans & Gaëtane Verna
A publication more precious than most as it documents work that no longer exists. Denyse Thomasos's ephemeral wall paintings blur the lines between Western formalism and post-colonial theory. While revealing a mastery of the elements of Abstract Expressionism, Thomasos's work is concerned with global histories and historical narratives, particularly the Black Diaspora. Her use of the marker, the line and the grid are animated by modernist principles but the architectural structures she evokes are in fact huts, cages and other references to slavery. With three essays and an interview, along with numerous colour plates and fold-outs, this publication is the first extensive monograph on the work of Denyse Thomasos.
Mount Saint Vincent University Art Gallery / Foreman Gallery of Bishop's University (08/2006)
90 pp 38 ill (28 col.) 9.5 x 7.5 in softcover ISBN: 0-9736674-6-X $29.95 Can./U.S. (24 euros)
Roots and Shoots: Contemporaray Art in Halifax
Ingrid Jenkner (ed)
This publication outlines tendencies among artists of Halifax, suggesting patterns of artistic affiliation as well as rifts. Individual artists were invited to nominate a work by another artist for presentation. Nominated artists, in turn, selected a work by their nominator. Each contributes a text responding to aesthetic and thematic qualities of the work they selected. The result is a collection of sixteen individual appreciations.
Art Gallery Mount Saint Vincent University (07/2006) 42 pp col. ill. 10 x 8 in softcover 1-894518-33-0 $12.00 Can./U.S. (10 euros)
These works of art from the Collection invite comparison with hobbycraft, housework and puttering. Plywood, acoustic tile, a tea towel and pantry equipment are some of the materials used. Artists represented include Gerald Ferguson and Kelly Mark.
Mount Saint Vincent University Art Gallery (2004) 36 pp 6 ill. 1-894518-17-9 $8.00 (6 euros)
Emily Falvey & Sophia Isajiw
Janice Gurney, Mary Scott and Arlene Stamp have sustained a critical engagement with painting as practice rather than as medium. This openness has fostered an eclecticism and an improvisational approach to already-circulated material. The authors write with the conviction that there is much to be learned from careers that began 20 years ago, when modernist paradigms in painting were much harder to ignore.
Mount Saint Vincent University Art Gallery / Southern Alberta Art Gallery (2003) 98 pp col. ill. 9.5 x 8 in softcover 1-894699-20-3
$20.00 Can./U.S. (14 euros)
Placing Spaces, Spacing Places: Canadian Experimental Films & Video since 1990
Gerda J. Cammaer
Following Changing Times, Time Changing, a look at experimental Canadian film and video up until 1990 (see below), this new publication presents and discusses 28 works produced by both emerging and celebrated artists including Michael Snow and Nelson Henricks. Cammaer discusses formal qualities and the creative use of filmic space against the tremendous social upheaval of the past decade.
Mount Saint Vincent University Art Gallery (2003) 36 pp 17 ill. 8x6 in 1894518160 $15.00 Can./U.S. (11 euros)
Lucie Chan : Something to Carry
Ingrid Jenkner & James R. Shirley
Chan assembles multi-figure ink drawings on bond into composite, booth-like structures suspended from the ceiling. Spatially, her drawing installations evoke the elsewhere of diasporic yearning. Shirley's essay compares Chan's use of drawing with the work of Ed Pien and William Kentridge. With artist's biography and bibliographic references.
Mount Saint Vincent University Art Gallery (2002) 4 pp 4 ill. 10 x 8.5 in. 1894518098 $6.00 Can./U.S.
Lily Markiewicz: Promise II
Markiewicz, the daughter of Holocaust survivors currently living in London England, creates installations that incorporate photography, video, and sound. Using everyday imagery, she has created a wordless situation in which viewers may experience the sense of displacement and doubt that characterize traumatic memory. In the public discussion involving members of the Halifax survivor community (the transcript of which is included here) Glowacka and Markiewicz clarify the ways in which the work articulates issues around Judeo-European history. In her essay, Glowacka, a literary scholar and also the daughter of Holocaust survivors, elaborates a culturally situated response to the art.
Mount Saint Vincent University Art Gallery (2002) 48 pp 10 col. ill. 6 x 8 in. softcover 1894518136 $20.00 (Can./U.S.)
The Devil's Workshop
The Devil's Workshop is Halifax, Nova Scotia, an artistic centre long used to the independent creation and coordination that comes from a certain isolation from cities with greater media attention and private patronage. Here the roles of artist, curator, critic and administrator are shared and rotated as is reflected in this exhibition catalogue produced by and dedicated to graduates of the Nova Scotia College of Art.
Mount Saint Vincent University Art Gallery (2002) 32 pp 9 ill. 5.5x5.5. in softcover 1894518101 $15.00
Changing Times, Time Changes: Canadian Experimental Films & Videos of the 1990s
Gerda Johanna Cammaer
"In experimental work, time is almost tangible; it has substantial value," says filmmaker Gerda Cammaer. Accordingly, her selection highlights works in which time is used to create a physical experience, presented as a theme, or treated as a receptacle in which to collect images. The intimate, personal and self-reflective tone of these films and videos contrasts with the grand discursive scope of 1980s media art. Cammaer provides an essay and synopses of 26 works by 20 artists including Louise Bourque, Nelson Henricks, Mike Hoolboom, Gunilla Josephson and Ho Tam.
Mount Saint Vincent University Art Gallery (2002) 35 pages, 10 ill. 8x7 in. softcover 189451811x $15.00
QC: Queer Commodity
Steven Bruhm & Spencer Ramsay
Designed to look like a glossy periodical while mimicking the very idea, this exhibition catalogue presents the work of Dyke Action Machine (New York City), Michael Hickey (St. John's) and Johannes Zits (Toronto). Two essays explore queer art and culture within and outside of the mainstream. The back cover's graphic cleverly subverts classic advertising with lesbian politics.
Mount Saint Vincent University Art Gallery (2002) 16 pages, 10 col. ill. 10x8 in 1894518071 $10.00
Brenda Pelkey: Haunts
Ingrid Jenkner & Brenda Pelkey
Formerly a documentary photographer, the Saskatoon resident has turned to a subject matter that can only be called psychic landscape. Jenkner delves into the work and identifies two merging contradictions. Like the artist herself the works are open and the views large but at the same time they are rigorously controlled, technically pristine and purposely stylized. Pelkey describes her practice as "centered on subjective experience...informed but not constrained by readings in social psychology and feminist cultural geographies." Her colour plates (with three-page colour fold-outs) are simply entitled "Ocean", "Bush" or "Forest" and present a world that is recognizably Canadian yet decidedly personal.
Mount Saint Vincent University Art Gallery (2002) 36 pages, 7 col. ill. 9x9 in. 189451808x $15.00
Terrence Syverson: Cape Breton Modern
The first of two publications dedicated to formerly American-based Cape Breton artists. Syverson invents within a rigorously reductive paradigm. He achieves dimension without illusionism, figure-ground relationships without painting figures on a background, and expressive content without recourse to gestural brushwork or depiction. Moving to New York in 1964, he participated in the 14th Annual Guggenheim International Awards exhibition and like his fellow expatriates Michael Snow and Joyce Wieland, achieved recognition in his homeland by building a career in the United States.
Mount Saint Vincent University Art Gallery (2001) 40 pages 14 col ill. 7x6 in. softcover 1895418047 $15.00
Flagmen of the Apocalypse: New Scuplture by Peter Walker
Walker's work exemplifies his fusion of rural handyman with the aesthetics of trained painter and sculptor. In a parody of Modernist machismo, his shipyard scrap and metal scroungings abound with phallic imagery and militant bravado. While noting Walker's outsider status as an artist, Jenkner places him within a variety of artistic traditions.
Art Gallery Mount Saint Vincent University (2001) 36 pp. ill. 1894518012 $12.00
Do Try This at Home
Heather Anderson & Chrystal Clements
The works of nine young artists from Halifax, Montreal, Toronto and Winnipeg are examined within one specific context: the money economy of subsistence level jobs and the field of artistic production where the medium of exchange is the "capital" of reputation and recognition. With reference to Pierre Bourdieu's sociological studies of art communities, separate essays explore the aesthetic preferences of the emerging artists, where their art circulates, and the social conditions under which their production takes place.
Art Gallery Mount Saint Vincent University (2001) 36 pp. ill. 1895418020 $12.00
Rebecca Roberts: Prospect 8
The subject of the publication is a composite oil-on-birch panel 8 meters long wherein the artist presents radically cropped views of herself in the nude. Jenkner explores the interplay of photography and painting within the artist's heavily mediated presentation of herself as the subject of her own gaze.
Art Gallery Mount Saint Vincent University (2000) 4 pp. ill. 1895215994 $3.00
A look a three artists with little in common beyond their interest in spiral structures or vortical motion. Gerald Choy sculpts in stone; Steve Higgins draws; John McNab specializes in turned forms. With an essay and artists' biographies.
Art Gallery Mount Saint Vincent University (2000) 18 pp. 5 col. ill. 9x6 in. 189521596x $12.00
Gerald Ferguson: 1,000,000 Grapes
Strongly identified with the Nova Scotia College of Art and Design where he has taught for thirty years, Ferguson has persisted in a practice of painting governed by an invariably reductive ethic. '1,000,000 Grapes' is a parallel publication to the artist's book of the same name produced in 1998 and contains an artist's statement, essay and biography.
Art Gallery Mount Saint Vincent University (1999) 20 p., 2 col ill. (with 1 foldout) 8x7.5 in. 1895215846 $10.00
Conceived to coincide with a conference of the International Gothic Association, Skinjobs brings together the work of Stephen Andrews, Michelle Gay, Catherine Heard, Teresa Marshall, Regan Morris and Brian Putz. Hurtig stresses that gothic sensibilities have always arisen in conjunction with social upheavals and epidemics. Looking at the works selected, the author proposes that the 'return to the repressed' , so characteristic of gothic expression, has acquired a subversive edge.
Art Gallery Mount Saint Vincent University (1999), 47 p. 7x7 in., 11 col. ill., 1895215927 $15.00
Amanda Schoppel: Corporeal
An installation made especially for the gallery wherein the artist explores the artistic potential of looped elastic bands.
Art Gallery Mount Saint Vincent University (1999) foldout, 11x8 in 1895215900 $5.00
Kim Fullerton & Cheryl Sourkes
The Toronto-based curators bring together "starving" young artists from across the country to demonstrate the role of art as an antidote to the effects of privation. Their art provides escape from austerity, depression and lack of opportunity. Artists include Susie Major, Damien Moffat, John Marriott and Amanda Schoppel.
Art Gallery Mount Saint Vincent University (1999) individual cards in plastic casing, col. ill., 10x8in 1895215897 $12.00
Robin Metcalfe, Ingrid Jenkner, Pamela Edmonds & Robert Zingone
Treating "style" as a sign of social identity and a gendered construct, the four essayists discuss works of art distinguished either by their by elegance, distinctiveness or perversity of expression. Participating artists include Buseje Bailey, Rebecca Frisk, Monica Tap and Peter Walker.
Art Gallery Mount Saint Vincent University (1999) 48 p., 11 ill. (9 col.), 1895215862 $15.00
The juxtaposition of a video by David Askevold ("Don't Eat Crow") with a photo-textual installation by Ellen Moffat ("Line Break") provokes a reflection on the idea of fixation produced through the obsessive use of a set vantage point.
Art Gallery Mount Saint Vincent University (1999) folder, ill., 1895215889 $5.00
A presentation of personally representative objects from the private collections of academic and curatorial staff at the university which focuses on collecting as a response to an emotional need.
Art Gallery Mount Saint Vincent University (1999) folder, ill., 1895215870 $5.00
Sarra McNie: Double.
McNie is an emerging Nova Scotia painter whose principle focus is the female nude and feminine subjectiviy.
Art Gallery Mount Saint Vincent University (1998) 4 p., ill., 1895215803 $7.00
Marlene Creates: Language and Land Use, Newfoundland
Creates' photo-assemblages are comprised of text, objects, and photographs and make critical links with practices such as journal-keeping, travel photography, and souvenir collecting. Creates was named Newfoundland's 1997 "Artist of the Year".
Art Gallery Mount Saint Vincent University (1998) 80 p., ill., 1895215811 $20.00
Arnaud Maggs: Notification I
'Notification I' is a formally mounted series of 96 colour photographs of the envelopes used for the mailing of death notices in 19th century France. The accompanying essay elucidates both the documentary as well as the highly personal nature of this relentless preoccupation with identity.
Art Gallery Mount Saint Vincent University (1998) 28 p., ill., 1895215838 $10.00
Gerald Ferguson: 1,000,000 Grapes
Ferguson's newest creation is a painting installation composed of 100 canvases stenciled with 10,000 dot-like motifs each. The artist's stated aim is "to use modularity as a compositional devise and to keep the process and concept visible and readable at a glance."
Art Gallery Mount Saint Vincent University (1998) 28 p., ill., 1895215846 $10.00
An artist's book. Art Gallery Mount Saint Vincent University (1997) 200 p., ill., 11x8 in 1895215749 $30.00
Queer Looking, Queer Acting: Lesbian and Gay Vernacular
Robin Metcalfe (ed)
An interweaving of documentation and personal memory transforms this exhibition catalogue dedicated to the history of Halifax's lesbian and gay community into a document unto itself. Four essays outline the significance of political and social events.
Art Gallery Mount Saint Vincent University. (1997) 118 p., 55 ill., 7x7 in 1895215765 $18.00
Tonia Di Risio
A brief survey of feminist approaches to autobiography in visual art. Artists studied include Jan Peacock, Andrea Ward, Linda Bartlett, Rosalie Favell, and Elsi Caetano Faria.
Art Gallery Mount Saint Vincent University. (1997) 6 p., ill., 1895215781 $6.00
Chris Woods: Animal Magnetism.
A solo installation exhibition reflecting the artist's interest in drawing and experimental video.
Art Gallery Mount Saint Vincent University. (1997) 4 p., ill., 9x9 in 189521579X $7.00
Pamela Ritchie: Imaginary Places.
Ingrid Jenkner, Tonia Di Risio & Paul McClure.
By presenting the work of the distinguished jeweler and metalsmith in a gallery, both curator and artist evoke something new about the objects and the setting.
Art Gallery Mount Saint Vincent University. (1997) 24 p., ill., 8x7 in 1895215773 $13.00
Mike MacDonald: Digital Garden.
Art Gallery Mount Saint Vincent University. (1997) 6 colour multiples., 6x9 in 1895215722 $12.00
Now Appearing: The Mount Saint Vincent University Collection
Ingrid Jenkner (et al).
Art Gallery Mount Saint Vincent University (1996) 58 p., ill., 9x5.5 in 1895215641 $15.50
Contingent: Small Sculpture by Martha Townsend Eva Hesse, 1966-1968 / Recent Works by Elspeth Pratt 1992-1995.
Art Gallery Mount Saint Vincent University (1996). 30 p., ill., 10x8 in 1895215552 $9.50
Claire Paquet & Suzanne Paquet : Comme les jours précédents, Les géographies du transitoire.
Art Gallery Mount Saint Vincent University. (1996). 48 p., ill., 8x8 in (English/Français) $12.00
Meta Textiles: Sewing the Second Skin
Art Gallery Mount Saint Vincent University. (1996) 24 p., ill., 8x7 in 1895215579 $6.00
Terra Firma: Five Immigrant Artists in Nova Scotia.
Silver D. Cameron (et al).
Art Gallery Mount Saint Vincent University. (1993) 24 p., ill., 11.5x9 in 1895215501 $15.00
Luke A. Murphy, Ronald Waakary : Paintings.
Andrew T. Hunter.
Art Gallery Mount Saint Vincent University. (1992) 42 p., ill., 11x8 in 1895215382 $10.00