ABC Art Books Canada
Carleton University Art Gallery
CARLETON UNIVERSITY ART GALLERY
Sandra Dyck and Leslie Boyd
Dorset Seen looks at how 20 Kinngait artists, past and present, have represented their lives and community over the last sixty years. Featuring 48 drawings and 22 sculptures, this superbly illustrated publication does not focus exclusively on the contemporary, nor does it equate earlier artists with ideas of “tradition.” Kinngait’s artists have always been inspired by their everyday lives, regardless of aesthetic conventions or market pressures. The artists tackle Christianity and colonialism, the Hudson Bay Company and the RCMP, family and sport, architecture and community development, technology and transport, alcoholism and suicide. An essay is accompanied by interviews with artists Tim Pitsiulak and Ningiukulu Teevee.The artists featured: Kiugak Ashoona, Shuvinai Ashoona, Etidlooie Etidlooie, Isaci Etidloi, Qavavau Manumie, Ohotaq Mikkigak, Jamasie Pitseolak, Mark Pitseolak, Tim Pitsiulak, Annie Pootoogook, Itee Pootoogook, Kananginak Pootoogook, Napachie Pootoogook, Paulassie Pootoogook, Pudlo Pudlat, Kellypalik Qimirpik, Ningeokuluk Teevee, Jutai Toonoo, Samonie Toonoo, Ovilu Tunnillie. Sandra Dyck is Director of the Carleton University Art Gallery and author of numerous exhibition catalogues, notably on Shuvinai Ashoona. Leslie Boyd is Project Coordinator at the Inuit Art Foundation. Earlier positions included Director of Marketing for West Baffin Eskimo Co-operative in Cape Dorset.
Carleton University Art Gallery (07/2017) 144 pp 68 col. ill. 10 x 8 in softcover 9780770905736 $20.00 Can. $25.00 U.S.
Meryl McMaster: Confluence (Out of print)
Gabrielle Moser, cheyanne turions and Heather Anderson
Meryl McMaster’s stunning self-portraits explore the construction of identity through lineage, history and culture. Combining the spontaneity of photography with the manual production of props and sculptural garments, she builds sumptuous images that invite viewers to enter her world, to take what they wish, and to grow from their own conclusions. This first monograph dedicated to McMaster’s work features three major series. Wanderings asserts that, for Indigenous people, identity has never been static; In-Between Worlds explores the mixing and transforming of the artist’s bi-cultural identities; Ancestral features historical images of Aboriginal people digitally projected onto the subject thereby inserting them into the present. McMaster’s pursuit of knowledge, connection to the natural world, and relentless dedication to profound beauty make her photographs elegant and complex. As a young artist of Plains Cree and European background, she works in the era of important cultural and social movements such as Idle No More, in which Canada’s aboriginal people strive to reclaim their place and rights in their communities locally and nationally. These issues influence her political and social views, of which her photographs act as a visual record.
Carleton University Art Gallery (05/2016) 80 pp 30 col. ill. 9.5 x 6.5 in hardcover 9780770905958 $20.00 Can. $25.00 U.S. (Out of print)
Mathew Reichertz: Garbage
Robin Metcalfe and Benjamin Woo
Garbage is a series of architectural-scale paintings by Mathew Reichertz that transform the art gallery into a comic book. Taken together the paintings tell the story of neighbours in Halifax’s North End and a mysterious couch that shows up one morning on the narrator’s front curb. As the narrator confronts his neighbours, asking where it came from, he gains insight into their lives as well as his own. Garbage collects these paintings into a graphic novel, which includes an essay by exhibition curator Robin Metcalfe and an introduction by comics academic Benjamin Woo. Co-published by Conundrum Press and Saint Mary’s University Art Gallery. In 2005 Matthew Reichertz was the Eastern Canadian winner of the RBC Canadian Painting Competition and in 2006 was shortlisted for the Sobey Art Award.This is the first publication dedicated to his work. Robin Metcalfe is director of Saint Mary’s University Art Gallery and author of numerous exhibition catalogues. Benjamin Woo is co-author of The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comics (2016).
Carleton University Art Gallery (05/2016) 48 pp 20 col. ill. 10 x 8 in softcover 9781772620085 $20.00 Can. $20.00 U.S.
Concerned with the conceptual and physical definitions of space, Samuel Roy-Bois questions the boundaries between art and exhibition spaces, critique and seduction, and private and public realms. His works, largely installations, are as much about the spaces outside the structures as those they enclose and communicate complex ideas and experiences. Published to accompany a nationally travelling exhibition wherein the work was continuously reconfigured with art from the collection of each hosting institution, this publication documents a singular aim to both undermine and overwhelm exhibition conventions. Co-published with Simon Fraser University Galleries and Oakville Galleries. The exhibition was awarded top honours at the Ontario Association of Art Gallery’s 2015 awards in the category, Innovation in Collections-Based Exhibition. Roy-Bois is a Vancouver based artist. His work has been shown across Canada and internationally including at Contemporary Art Gallery, Vancouver, Point éphémère, Paris, and Musée d’art contemporain de Montréal. Adrian Blackwell is an artist and urban and architectural designer. He has won awards from the Canadian Architect, Toronto Urban Design Awards, and Design Exchange. Kathleen Ritter is an artist and a writer based in Vancouver. She is currently Assistant Curator at the Vancouver Art Gallery.
Samuel Roy-Bois: Not A New World, Just An Old Trick
Adrian Blackwell and Kathleen Ritter
Carleton University Art Gallery (12/2015) 106 pp 80 col. ill. 10.5 x 9 in hardcover 9780986858154 $25.00 Can. $28.00 U.S.
Akram Zaatari: All Is Well
Vicky Moufawad-Paul and Judith Rodenbeck
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 the Agnes Etherington Art Centre.
Carleton University Art Gallery (03/2015) 64 pp col ill. 9.25 x 7 in hardcover 9781553394020 $22.00 Can $26.00 U.S.
Y & G #12 (curtain walls)
Diana Nemiroff and George Baird
The artistic practice of Daniel Young and Christian Giroux exists at the intersection of art and architecture. From their respective positions as art historian and architect they create sculptures, installations and films that reflect upon the successes and failures of the built environment. This publication brings together for the first time three sculptures (Coaptation, Chagrin, and Eunoia) and a film (Camera Tracking a Spiral Drawn Between the Two Curved Towers of Viljo Revell’s Toronto City Hall). The common theme throughout is the glass curtain wall. The film, which documents an iconic example of Modernist architecture, provides the conceptual starting point and the sculptures follow through with customized acrylic and spider-clamp design conjoined with industrial racking systems to create human-scale works that invite us to reflect on the production of space in the urban environment. In his essay George Baird explores the history, symbolism and continuing importance of the glass curtain wall. Diana Nemiroff traces the conversation between the languages and forms of art and architecture in the work of the artists. Young & Giroux have exhibited, most notably, at the National Gallery of Canada, Künstlerhaus Bethanien, and Musée d’art Contemporain de Montréal. George Baird is an architect and architectural educator who has taught at Harvard University and the University of Toronto. He was awarded the 2012 AIA/ACSA Topaz Medallion for Excellence in Architectural Education. Diana Nemiroff is an internationally recognized curator and art historian. She has been Curator of Contemporary Art at the National Gallery of Canada and Director of Carleton University Art Gallery.
Carleton University Art Gallery (04/2014) 108 pp 60 col. ill. 11.5 x 8 in hardcover 9780770905750 $30.00 Can. $35.00 U.S.
Leslie Reid: A Darkening Vision
Diana Nemiroff with a foreword by Sandra Dyck
This thoroughly illustrated monograph traces the 30-year evolution of the Canadian painter’s treatment of light and space, revealing that although Reid’s extraordinarily subtle landscapes are grounded in observation, their objectivity is underpinned by the preliminary photographs that allow her to contemplate at a remove the sensations and emotions evoked by place. “A Darkening Vision” refers not to her palette, but to the intensifying feeling in her work of the tenuous nature of life. The paintings presented are grouped thematically by air, earth, and water. “Air” sets works from the 1970s, liminally abstract, delicately nuanced paintings. “Earth” groups paintings from the artist’s travels in France, England, and California during the 1980s and early 1990s. “Water” spans the mid 1990s to the end of the first decade of the present century, when Reid was focused more narrowly on family property in Quebec, and the Ottawa River. For Leslie Reid, the sensory experience of the landscape is deeply imbued with feeling. What interests her are the perceptual and psychological sensations provoked by the experience of a particular place. The sense of wilderness, real or imaginative, and with it the anxiety of survival, is never completely absent from her work.
Carleton University Art Gallery (07/2013) 80 pp 40 col.ill. 9.25 x 12 in hardcover 978-0-7709-0567-5 $30.00 Can. $36.00 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. Copublished with Contemporary Art Gallery, Vancouver, the volume contains two essays and an interview with the artist.
Carleton University Art Gallery / Agnes Etherington Art Centre (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.
Sylvain Campeau, Sandra Dyck, Annie Gauthier, Katarina Gubash, Marie-Claude Landry, Shirley Madill, Crystal Mowry, and Mathilde Roman
Serbian-born Canadian artist Milutin Gubash has developed a diverse practice incorporating performance with video, photo and digital installations and focused on the investigation of his own personal, social, and cultural identity. This first monograph examines the overlap of history, humour and authenticity found in his multifaceted practice. Often cast as the lead alongside his family and friends, Gubash employs narrative to blur the boundaries between real, lived lives and the people that we wish we were. Major projects featured include Which Way to the Bastille?, which recounts the story of his father’s life in, and escape from, communist Yugoslavia. The video These Paintings explores the life of the artist under Communism. The hilarious Born Rich, Getting Poorer is a sitcom-style video series (complete with laugh track) starring Gubash as himself, the Buster Keatonish everyman who embarks on a hapless search for home and for roots, after the recent death of his father. Published to accompany a multi-venue ten year survey of Gubash’s work, the publication includes original essays, and complete photographic documentation. Born in Novi Sad, Serbia and living in Montréal, Milutin Gubash has exhibited throughout Canada, the United States, and Europe since 2000. His practice encompasses photography, video, and performance, and regularly features the participation of his family and friends in sitcoms, soap operas, family photos, and improvisational theatre pieces. Co-published with Kitchener-Waterloo Art Gallery, Musée d’art de Joliette, Rodman Hall Art Centre, and Southern Alberta Art Gallery. In English and French.
Carleton University Art Gallery (07/2013) 192 pp 80 col. ill. 11 x 8 in hardcover 978-1-897543-19-1 $40.00 Can. $45.00 U.S.
Photomontage Between the Wars 1918-1939
Adrian Sudhalter and Deborah Roldán
The extensive range of posters, collages, maquettes, postcards, magazines, and books featured in this exhibition catalogue attests to the enormous influence of photomontage in politics, social protest, and advertising, while also demonstrating the popularity of the technique among avant-garde artists during these two decades. Essays in this visually rich publication examine contemporary texts that the practice of photomontage inspired, and explore those qualities of photomontage that led to what was arguably the most important exhibition devoted to this artistic technique at the Kunstgewerbemuseum in Berlin in 1931. The present volume includes a facsimile reproduction and translation of the catalogue published on the occasion of that exhibition. In addition to a brief chronology, the interested reader will also find a selection of text - some scarcely familiar today - by authors of various nationalities that sheds further light on the practice. Produced to accompany the exhibition in Spain and available in North America for the first time, this entirely English-language publication offers a fascinating overview of the birth of the photomontage process specifically in Germany and the Soviet Union in the 1920s.
Carleton University Art Gallery / Fundación Juan March, Madrid (10/2012) 184 pp 80 ill. (col & bw) 11.5 x 9 in softcover 978-84-7075-597-2 $26.00 Can. $29.00 U.S.
Jocelyne Alloucherie : Climates / Climats
Diana Nemiroff, Johanne Sloan, Jocelyne Alloucherie
The Climates series can be described as an “imaginarium of the north” that lies between fiction and reality. Blurring the boundaries between drawing, photography, sculpture, and architecture, Montreal artist Jocelyne Alloucherie explores the mythic dimensions of space as it is experienced in memory and the imagination. The three new bodies of Alloucherie’s work presented here, Land of Mist, Land of Blood, and Land of Snow are distillations of place; each communicates a general climate or feeling rather than a particular geographical location. Jocelyne Alloucherie’s intellectual rigour and distinctive artistic vision have won her an important place in the visual arts in Canada. She has received numerous awards and distrinctions, including the Governor General’s Award in Visual and Media Arts and the Prix Paul-Emile Borduas.
Dans sa nouvelle série, Jocelyne Alloucherie, artiste montréalaise, crée un « imaginaire du Nord » qui allie photos et dessins, sculptures et éléments d’architecture, pour présenter une sorte de quintessence de lieux indéfinissables. Les œuvres Terre de brumes, Terre de sang et Terre de neige sont des « paysages » qui se veulent une évocation tantôt mythique, tantôt factuelle de milieux naturels. Pour reprendre les mots d’Alloucherie, ce sont « des espaces à mi-chemin entre l’immédiateté de l’expérience matérielle et le souvenir d’un ou de multiples ailleurs ». La carrière de Jocelyne Alloucherie a été reconnue par plusieurs prix, notamment le prix du Gouverneur général en arts et arts médiatiques, le prix Paul-Émile Borduas, et le prix Jean-Paul Riopelle.
Carleton University Art Gallery (09/2012) 80 pp 40 col. ill. 9.5 x 6.5 in softcover / souple 978-0-7709-0555-2 $25.00 Can. $29.00 U.S.
Making the News in 18th-Century France
Long before the Internet and the advent of social media, even before the invention of photography, prints were the main source of visual information. This was particularly significant in eighteenth-century France, where the dramatic rise in production and the rapid dissemination of prints played a key role in the creation of modern political culture: prints helped people grasp the essence and significance of newsworthy events both near and far. Making the News in 18th-century France examines this phenomenon through a detailed and lively examination of 37 prints and rare books selected from the collections of Carleton University (the Art Gallery and Archives and Research collections), National Gallery of Canada, and Library and Archives Canada. Included in the exhibition are two iconic interpretations of Benjamin Wolfe’s Death of General Wolfe and Antoine-Louis Watteau’s less well-known Death of Montcalm, which anchor the exhibition’s subject within a Canadian context.
Carleton University Art Gallery (12/2012) 84 pp 36 ill. 11 x 8 in softcover 978-0-7709-0554-5 $25.00 Can. $29.00 U.S.
Shuvinai Ashoona Drawings (Out of print)
Shuvinai Ashoona’s distinctive drawings have garnered her increasing attention since her emergence in the mid-1990s. This first monograph surveys the extraordinary range of her styles, subjects, and approaches from her early monochromatic landscapes, to her vividly-coloured interpretations of everyday life in Cape Dorset, to her fantastical scenes that partake of the whimsical and the grotesque. Ashoona’s work is marked by an apparently effortless movement between the past and present, actual and imagined, and interior and external worlds. She evinces the same delight in obsessive and subtle mark making with black ink as she does in comparatively minimal line drawing with pencil crayon. Her drawings compel our attention in part because they are born of a singular and poignant vision that was forged in, but transcends, a specific place – Cape Dorset. Shuvinai Ashoona (b. 1961, Cape Dorset, Baffin Island) is the daughter of the well-known sculptor Kiugak Ashoona and granddaughter of the late Pitseolak Ashoona, the great graphic artist. Her own career started in the mid-1990s when she began making drawings for the West Baffin Eskimo Cooperative. In 2010 her work was featured in the National Gallery of Canada’s biennial exhibition It Is What It Is.
Carleton University Art Gallery (02/2012) 96 pp 30 col. ill. 10 x 10 in softcover 978-0-7709-0548-4 $25.00 Can. $28.00 U.S. (Out of print)
Anthony Burnham: Even Space Does Not Repeat (out of print / épuisé)
Diana Nemiroff, Marie-Eve Charron & Naomi Potter
Working with the formal components that have played a central role in the history of painting, such as perspective, illusionism and the grid, Anthony Burnham investigates the possibilities of painting as a conceptual practice. Burnham’s paintings seem to conjure the question formulated by Jean-François Lyotard: “What to paint?” What is there left for painting to say, and how can it say it? Burnham’s works offer much opportunity for reflection on these questions, as they are the products of a painting practice that is, at heart, a conceptual activity. The essayists offer numerous insights into Burnham’s analytical approach to painting in this post-modernist era and provide a theoretical and historical context for the reception of his work. Published in collaboration with the Walter Phillips Gallery following a residency entitled “Why Are Conceptual Artists Painting Again? Because They Think It’s a Good Idea.” In English and French.
La peinture d'Anthony Burnham est à la fois le lieu d'expression et de réflexion sur le médium et sur la pratique picturale. Considérées séparément, les tableaux de Burnham présentent des vocabulaires stylistiques bien campés. Mais pris dans son ensemble, le corpus d'œuvres défie en quelque sorte notre désir de cohésion en regard de la production d'un artiste. En faisant cohabiter figuration et abstraction, expressionnisme et réalisme, gestualité et aplats chromatiques, Burnham promeut une esthétique de la mixité qui vient perturber la logique implicite du cloisonnement des styles. Anthony Burnham a participé à la Manifestation d'art de Québec (2e édition) et à la Triennale québécoise 2008. Il vit et travaille à Montréal. Publié en collaboration avec la Walter Phillips Gallery. En français et anglais.
Carleton University Art Gallery (11/2011) 112 pp 30 col. ill. 9.5 x 6.5 in softcover / souple 978-0-7709-0545-3 $25.00 (out of print / épuisé)
Conversation Pieces: African Textiles from Barbara and Bill McCann's Collection
Catherine Hale, Pius Adesanmi and Barbara McCann
This well-illustrated publication explores the vital role played by conversation and communication in the acquisition, appreciation, and exhibition of this extensive private collection. Whether created to commemorate particular events or individuals, offer protection, identify a rite of passage, or as emblems of prestige, textiles and clothing are actively employed throughout the African continent to express concepts of identity, history, and community. Accordingly, they are deeply embedded in African social and political lives. While certain common social, political, and aesthetic trends exist across this vast continent, it is essential to keep in mind the diversity of regions, cultures, climates, and geographies that constitute Africa. With communication as its theme, the authors consider the multitude of ways that African textiles initiate dialogue about and between people in Africa and elsewhere. Catherine Hale is Curator of African and non-Western Art at the University of Iowa Museum of Art. Pius Adesanmi is winner of the inaugural Penguin Prize for African Writing (2010) for his book You’re Not a Country, Africa.
Carleton University Art Gallery (09/2011) 68 pp 40 col. ill. 10 x 8 in softcover 978-0-7709-0544-6 $25.00 Can. $30.00 U.S.
Nadia Myre: Encounters
Sandra Dyck, Amanda Jane Graham, Édith-Anne Pageot & Colette Tougas
Nadia Myre is a multidisciplinary artist whose work explores themes of language, culture and memory and who sources the culture of her Algonquin ancestors as a way of confronting contemporary realities. In concert with this investigation is a keen interest in creating works which expand over time and foster participatory involvement. Myre attracted international attention when, in 2000-2002, she beaded over all 56 pages of the annotated Indian Act of Canada with the help of over 200 participants. In 2005, she launched The Scar Project, an ongoing ‘open lab’ where viewers participate by sewing their scars - real or symbolic - onto stretched canvases and writing their ‘scar stories’ on paper. This monograph provides a first comprehensive look at the Montreal-based artist's remarkable career. Nadia Myre has participated in numerous high-profile exhibitions throughout Canada and the United States: Hide: Skins as Material and Metaphor (Museum of Contemporary Native Arts, Santa Fe), It Is What It Is: Recent Acquisitions of New Canadian Art (National Gallery of Canada), and Vantage Point: The Contemporary Native Art Collection (Museum of the American Indian, Washington). Published with Éditions Art Mûr. In English and French.
Artiste multidisciplinaire, Nadia Myre (Anishinaabe) vit et travaille à Montréal. Ses sculptures, peintures, vidéos et écrits abordent les thèmes récurrents de l’amour, du désir, du langage, et de la perte de l’identité. Une sélection récente des expositions auquel Myre a participé comprend : A fleur de peau, Musée d’art contemporain des Laurentides ; The Scar Project, Urban Shaman, Winnipeg, MB ; Au fil de mes jours, Musée National des beaux-arts du Québec, Québec. Cette première monographie sur l’œuvre de Nadia Myre est publiée avec les Éditions Art Mûr. En français et anglais.
Carleton University Art Gallery (April 2011) 96 pp 30 col. ill. 10.5 x 9.5 in softcover 978-2-92324-304-7 $45.00 Can. $50.00 U.S.
Justin Wonnacott: I Remember and I Forget
Justin Wonnacott’s photographs depict fish caught and farmed around the world, but purchased at his neighbourhood grocery store. These luminous portraits are marked by great attention to staging, lighting and props. The simplest image can isolate a fish against a monochrome background. Other fish are set upon a decorative plate or arranged with objects in genre pictures that draw on traditions of 17th century Dutch still-life painting. The series raises complex questions about the food we eat and a society where it’s easier to buy salmon farmed in China than a cod caught in Canada. Justin Wonnacott has exhibited his work at, notably, the Canadian Museum of Contemporaray Photography and Toronto Photographers Workshop.
Carleton University Art Gallery (12/2010) 48 pp 24 col. ill. 9 x 6.5 in hardcover 978-0-7709-0542-2 $20.00 Can. $23.95 U.S.
Frank Shebageget: Light Industry
Ojibway artist Frank Shebageget was born and raised in Upsala, northwest of Lake Superior. As an installation artist, his work reflects his continued interest in the geography of the Canadian Shield and the aesthetic qualities of everyday materials. Shebageget never depicts the land itself, but has instead developed a spare iconography with which to explore the area’s complex identity and history in the context of what he calls “colonial influence disguised as progress.” Frank Shebagaget has exhibited at Urban Shaman Gallery, Canadian Museum of Civilization, and the University of California, Davis.
Carleton University Art Gallery (12/2010) 32 pp 14 col. ill. 9.5 x 6.5 in softcover (saddle stitched) 978-0-7709-0541-5 $12.00 Can. $14.95 U.S.
Carol Wainio: The Book
Donald Beecher & Randy Innes
Drawing on rich and varied sources such as 19th-century French illustrator J.J. Grandville (La Vie Privée et Publique des Animaux) and folktales such as Puss in Boots, Wainio explores the narrative power of fairy tale illustrations. Her paintings however evoke a mood of disenchantment and loss rather than wonder. The subjects of the traditional European folktale - poverty and excess, high culture and low, desire and consumption, camouflage and forms of recognition or status through representation or dress - become commentaries on today’s global consumerist society and its inequities. Thoroughly illustrated and with two original essays, this publication documents a ten-year survey.
Carleton University Art Gallery (09/2010) 84 pp 29 col. ill. 9 x 10.5 in hardcover 978-0-7709-0540-8 $30.00 Can. $35.00 U.S.
Construction Work: Josée Dubeau, Lorraine Gilbert & Jinny Yu
Although the three Canadian artists work in different media, this publication documents a shared passion for ideas of space, place, and the built environment. Working from Derrida’s notion of deconstruction, Halkes argues that an underlying longing for harmony can be found in Gilbert’s photographs, Yu’s wall paintings, and Dubeau’s constructions. Recognizing the constructivist impulse they share, she finds that they “have sifted through the rubble of Modernist and Romantic dreams to discover desires that remain undemolished; these they set into new constructions, where they can be re-examined for their utopian value.”
Carleton University Art Gallery (03/2010) 56 pp col. ill. 9 x 6 in hardcover 978-0-7709-0537-8 $25.00 Can. $30.00 U.S.
Michèle Provost: Selling Out
Provost’s reflection on the tensions between art and consumer culture is even more striking due to one of her chosen mediums: embroidery. The installation discussed here is composed of hand-sewn trading cards and other action-hero paraphernalia as well as reproductions of works by art-world heroes from Bosch to Daumier and Warhol to General Idea. By drawing on contrary spheres - collectibles, advertising, the museum, toys, merchandising, and art - and by combining meticulous hand-stitching with popular culture, Provost belongs to an established lineage of artists whose direct address of commercial culture simultaneously declares and calls into question its perpetual advance.
Carleton University Art Gallery (01/2010) 58 pp col. ill. 9 x 6 in hardcover 978-0-7709-0539-2 $25.00 Can. $27.95 U.S.
Sanattiaqsimajut: Inuit Art from the Carleton University Art Gallery Collection
Sandra Dyck, Ingo Hessel et al
Ottawa’s Carleton University Art Gallery holds one of the richest Inuit art collections in the country. This profusely illustrated hardcover publication features over 100 works - each one reproduced in fill colour - ranging from sculpture to drawings and prints, all of which are “Sanattiaqsimajut”, or “things that are finely made”. Two major essays discussing the history of the collection and its many narrative threads are accompanied by thirty-three individual texts that take distinctive thematic, biographical and formal approaches. These essays are written by experts in the field including Patricia Feheley, Robert Kardosh, Christine Lalonde, Marybelle Mitchell, Judith Nasby, Crystal Parsons, Leslie Boyd Ryan, Pitaloosie Saila, Norman Vorano, Darlene Coward Wight and Norman Zepp. Sandra Dyck is curator at the Gallery and author of numerous studies on the collection. Ingo Hessel is curator at Toronto’s Museum of Inuit Art and author of 'Inuit Art: An Introduction'. Recipient of first prize for exhibition catalogue design in the 2009 American Association of Museums Publications Design Competition.
Carleton University Art Gallery (12/2009) 232 pp 125 col. ill. 11 x 9 in hardcover 978-0-7709-0533-0 $60.00 Can. $68.00 U.S.
Howie Tsui’s Horror Fables
This first monograph on the work of Howie Tsui documents a multi-media exhibition centered upon his large-scale drawings and wall paintings. Presented in the form of Ming Dynasty scrolls, the work is informed by Asian ghost stories, Buddhist hell scrolls, Hong Kong vampire films and neo-conservative propaganda. Questioning ideas of identity and cultural assimilation through the subversive mode of the horror fable, Tsui imagines fabulous landscapes peopled by monsters and demons whose grotesque character is offset by the exquisite refinement of his drawing and painting.
Carleton University Art Gallery (11/2009) 38 pp col. ill. 7 x 8 in softcover 978-0-7709-0532-3 $20.00 Can. $22.95 U.S.
Sandra Meigs: Strange Loop
Diana Nemiroff with Sandra Meigs
Meigs’s new paintings of architectural interiors are based on her studies of 19th-century Shingle Style mansions in Newport, Rhode Island. The Shingle Style emerged as an authentic American architectural style and precursor to modernist architecture in the 1880s. The drawings, however, shift our attention from architectural form to psychological content and Meigs approaches the underlying psychological dimension in these spaces with her signature comic gestalt. Though they initially appear empty, these complex interiors are replete with primitive themes of love and death, innocence and sexuality, reverie and nightmare.
Carleton University Art Gallery (11/2009) 48 pp col. ill. 9 x 7 in softcover 978-0-7709-0534-7 $25.00 Can. $27.95 U.S.
Alexandre Castonguay & Mathieu Bouchard: Reverse Engineered / Rétro-ingénierie
Alexandre Castonguay works in digital photography and computerized installation. Mathieu Bouchard is a digital arts engineer. Together they have created an interactive work developed from computer-aided silkscreen prints made in the 1970s by pioneers of the genre. Bouchard has designed software to analyze the prints in order to formulate the rules of their creation and create new artworks. Castonguay has analyzed the original texts and diagrams with readymade and Open Source software. The resulting work poses fundamental questions regarding today’s digital art practice, such as the action of the artist versus that of the machine and the end of the authority of the object. In English and French.
Cette publication expose la production récente de Castonguay et Bouchard, collaborant à la réalisation d’installations interactives depuis près de dix ans. L’exposition met en lumière des œuvres sur papier, sérigraphies créées par ordinateur dans les années 1970 par des pionniers de cet art, avec lesquelles les artistes ont choisi d’entretenir un dialogue. Par ce geste, ils souhaitent non seulement attirer le regard vers les œuvres innovatrices oubliées mais aussi évoquer une filiation entre les modes de conception et de développement de ces œuvres et leur propre démarche de création. En français et anglais.
Carleton University Art Gallery (07/2009) 68 pp 20 col. ill. 9 x 7.5 in softcover 978-0-7709-0531-6 $25.00 Can. $26.95 U.S.
Pascal Grandmaison: Le grand jour / Double Take
Sara Knelman & Diana Nemiroff
Known for his coolly distanced photographic portraits, Grandmaison’s new work explores the connections between the economy of the image – its materials and formal and technical conventions – and the social and economic structures that govern our everyday environment. In videos and photographs, Grandmaison’s crisp minimalist aesthetic scrutinizes the beauty, form and limitations of his subjects. His video works are beautifully choreographed explorations of the boundaries between space and emotion, progress and history, and moving and still images. Turning the lens on the mechanisms of his craft, new large-scale photographs depict details from the instruments of image making – lenses, battery packs, depth of field diagrams – rendering them both intimate and monumental. This abundantly illustrated monograph follows the artist’s interrogation of the mechanics of film and photography, as well as the tensions between the realism of the images and the abstract codes underlying their representation. In English and French. Winner of the Grand Prize in the category of exhibition catalogue design in Concours Grafika 2010.
Cette monographie présente les nouvelles oeuvres du photographe et cinéaste. Surtout connu pour ses portraits empreints de recul, Grandmaison explore les liens entre l’économie de l’image – ses matériaux et ses conventions formelles et techniques – et les structures socioéconomiques qui régissent notre monde quotidien. Il se penche sur les tensions entre le réalisme des images captées et les codes abstraits qui fondent leur représentation. En français et anglais. Gagnant du grand prix dans la catégorie catalogue d'exposition du Concours Grafika 2010.
Carleton University Art Gallery (02/2009) 164 pp col. ill. 10.5 x 7 in hardcover 978-0-7709-0524-8 $40.00 Can. $42.95 U.S.
Invention and Revival: The Colour Drypoints of David Milne and John Hartman
Rosemarie Tovell, Anne-Marie Ninacs, John Hartman & David Milne Jr
Upon his death in 1953 David Milne was hailed by art critic Clement Greenberg as one of the greatest artists of the time. Among Milne's many achievements was the invention of the multiple-plate colour drypoint. This entirely new process was the simplest of techniques. Lines are scratched into copper or zinc plates, creating a residual metal "burr" that later catches the ink, creating soft lines more akin to drawing than to the finely detailed lines of etching or engraving. Milne exploited his invention to gorgeous effect but despite - or perhaps because of - his mastery of it, other artists did not follow suit. Decades later, John Hartman was inspired to take up the technique and has produced a remarkable body of prints that shares much in common with Milne's oeuvre, in aesthetic, geographic, and spiritual terms. In order to explore the affinities between the two artists, this publication brings together forty-two prints by Milne and Hartman, including Hartman's spectacular Cities series, which demonstrates his continuing drive to push the limits of the drypoint technique. Two scholarly essays and a conversation between John Hartman and the son of David Milne are accompanied by forty-two full-page colour plates. Rosemarie Tovell is former curator at the National Gallery of Canada and a leading authority on David Milne. Anne-Marie Ninacs is former curator of contemporary art at the Musée national des beaux-arts du Québec.
Carleton University Art Gallery (11/2008) 144 pp 42 col. ill. 8.5 x 10.5 in hardcover 978-0-770905-26-2 $55.00 Can. $60.00 U.S.
A Pilgrim's Progress: The Life and Art of Gerald Trottier
The life work of Gerald Trottier (1925 - 2004) could be considered as a journey over many landscapes: the body, the soul and the human condition. His passionate quest for knowledge is exhibited in the many mediums of which he was a prolific and powerful master: drawing, water and oil painting, print-making and sculpting. This first in-depth examination of Trottier’s life and art discusses over fifty years of production, including the early Social Realist works, the “Medieval period” of the 1950s, the imposing expressionist paintings he exhibited at the 8th São Paulo Biennial in 1965, and the realist paintings he made in the mid-1960s. Trottier’s innovative liturgical design work is also explored in detail. The essay concludes by considering two major bodies of monumental paintings Trottier made late in his career - his self-portraits and his Easter Series.
Carleton University Art Gallery (09/2008) 114 pp 30 col. ill. 9 x 6 in hardcover 978-0-7709-0525-5 $30.00 Can. $32.95 U.S.
Anthem: Perspectives on Home and Native Land / Hymne : Points de vue sur la terre de nos aïeux
Artists from across Canada identify varying forms of nationhood that either serve or detract from the concept of a national accord. Each artist explores the discourse to include not only colonial histories, but also distinctive and multicultural liberties such as treaties, blood, languages, sexual orientation, faith, and oral traditions. The dynamic range of art works exhibited expose and accept the diverse forms of nationalism that exist across the country. In English and French. //// Sept artistes de milieux culturels divers et de régions géographiques différentes se réunissant en chorale hétérogène pour donner leurs réponses à la provocante question du sens de l'appartenance au Canada. En français et anglais.
Carelton University Art Gallery (02/2008) 64 pp col. ill. 11 x 9 in hardcover 978-0-7709-0519-4 $25.00
Tom Bendsten: Argument #4 (b)
Bendsten's monumental book structures are concerned with colour and form as a method of ordering texts. This particular work, Argument #4 (b), includes a life size mechanical baby bird, with nest, mounted within the ceiling. The bird functions as a centre in constant need of sustenance and attention. The viewer and bird strain towards each other, one to understand, the other to be fed, both for nourishment. In her essay, Halkes situates the artist at a point of reconciliation between the social construction of culture and the social-biological arguments that extend to the cognitive sphere.
Carleton University Art Gallery (01/2008) 46 pp col. ill. 7.5 x 5.5 in softcover 978-0-7709-0517-0 $15.00
Damian Moppett : The Fall of the Damned / La chute des damnés
Diana Nemiroff & Melanie O'Brien
Living and working in Vancouver, Damian Moppett is at the forefront of a new generation of artists spawned by this fertile city and only indirectly linked to an earlier group of artists known as the Vancouver school. This monograph provides an opportunity for a closer look at the work of this protean photographer, filmmaker, painter, potter and sculptor whose works reference art of the past and present as well as popular culture, personal history and craft. With new works conceived especially for this exhibition - primarily sculpture and watercolours - Moppett explores the nature of authenticity and authorship. Among the artists providing fuel for thought are Rodin, Brancusi and Henry Moore. In English and French.
Vivant et travaillant à Vancouver, Damian Moppett compte parmi les chefs de file d'une nouvelle génération d'artistes qui ne doit rien directement à la génération précédente surnommée l'école de Vancouver. Cette monographie représente une rare occasion d'examiner plus attentivement le travail de cet artiste protéiforme - photographe, cinéaste, peintre, potier et sculpteur - dont les uvres citent l'art du passé et du présent, l'artisanat, le récit personnel, et la culture populaire. En français et anglais.
Carleton University Art Gallery (10/2007) 96 pp 37 ill. (30 col). 10.5 x 8 in softcover 978-07709-0515-6 $35.00 Can./U.S.
Nichola Feldman-Kiss: Mean Body
In a practice defined by the artist as "an expanded performance of self-portraiture", Feldman-Kiss's current work has been generated by her posing for a three-dimensional whole body laser scanner. The resulting database was used to generate multiple representations of her body-figure in a variety of media: video animation, an expansive grid of ink-jet prints, a group of sculptures and several back-lit transparencies. In this first monograph dedicated to Feldman-Kiss, Sawchuck investigates the psychological, social and feminist components of her work.
Carelton University Art Gallery (03/2007) 48 pp 18 ill (10 col.) 8.5 x 6.5 in softcover 978-0-7709-0512-5 $25.00 Can./U.S.
Glenna Matoush: Requicken
Ryan Rice & John Grande
Ojibway artist Glenna Matoush was trained as a printmaker but now works primarily as a painter. Her expressionistic style moves fluidly between the figurative and the abstract and her work is informed directly by nature through the integration of birch bark, leaves, earth and stones into her work. Matoush addresses contemporary social and political Aboriginal issues, including the environmental destruction she has witnessed in Cree territory in Northern Quebec, and the despair caused by AIDS and the reclamation of culture. This first monograph on the work of Glenna Matoush contains essays by Ryan Rice, Aboriginal curator in residence at the gallery, and by well-known arts writer John Grande.
Carleton University Art Gallery (09/2006) 40 pp 18 col. ill. 9 x 7.5 softcover ISBN: 0-7709-0210-2 $20.00 Can./U.S.
Pam Hall: New Readings in Female Anatomy
Pam Hall's multi-dimensional installation takes the form of a reading room in which old meanings of the female body are deconstructed and new meanings are discovered. The project includes prints and drawings, books, prose and poetry, sound and sculpture assembled in the guise of a space for higher learning. By using the format of the textbook and anatomical prints, Hall challenges the authority of traditional western medicine over the female body. Hall's project was augmented by a two year artist residency at Memorial University's School of Medicine in St. John's, Newfoundland. The author situates "New Readings" in relation to Hall's earlier work and to feminist re-readings of modern scientific and philosophical texts. Published with The Rooms Provincial Art Gallery.
Carleton University Art Gallery (11/2006) 60 pp 14 col. ill. 9 x 8 in Hardcover 0-7709-0489-0 $30.00 Can./U.S.
The Epic of Qayaq: The Longest Story Ever Told By My People
Lela Kiana Oman
This is a splendid presentation of an ancient northern story cycle, brought to life by Lela Kiana Oman, who has been retelling and writing the legends of the Inupiat of the Kobuk Valley, Alaska, nearly all her adult life. Illustrated with works from the Priscilla Tyler and Maree Brooks Collection of Inuit Art.
Carleton University Art Gallery (1995) 122 pp ill 8 x 9 in softcover 978-0-295975-31-3
$25.00New Price: $12.50 Can. $15.00 U.S.
Anne Beam: Motherlines
Catalogue of an exhibition of prints incorporating the many symbols and icons of motherhood, ranging from traditional Christian and Chinese Buddhist and contemporary secular. Accompanied by en essay by Lauzon wherein she discusses the politics and poetics of motherhood. Born in New York, Ann Beam lives on Manitoulin Island, Ontario with fellow artist Carl Beam.
Carelton University Art Gallery (2003) 32 pp 6 col. ill.6.5x5 in 0770904866
EchoSense: Lynda Cronin
Carelton University Art Gallery (2003) 34 pages, illustrated
Babylon Zero: John Scott
Carelton University Art Gallery (2003) 24 pages, illustrated
Vera Greenwood: L'Hotel SofiCalle
Canadian artist Vera Greenwood traveled to Paris in order to follow French artist Sophie Calle who, sixteen years earlier, had followed strangers and even had herself followed as part of an ongoing project. Greenwood's interest was in the concept of the gaze. Does anything or anyone have an objective reality? Calle knew when the detective was following her, so how did that affect her activities for the day? The publication presents an essay, artist's notes, photographs and artifacts of the expedition.
Carleton University Art Gallery (2002) 48 pp 21 ill. 8x6 in softcover 0770904599
Robert Houle's Palisade
Houle's visual arts practice applies formalist demands to activist initiatives to review the history of the interactions of the North American Indian and the colonizers. The eight large vertical canvases that make up Palisade represent the eight forts captured by Pontiac's Confederacy in 1763. Through the addition of digital graphic collages and historical documentation, Houle powerfully relates the colonial army's retaliation to these defeats: the systematic introduction of plagues, especially smallpox. Dyck's essay provides an interpretation of the work and its historical context. Robert Houle, a Manitoba native, has exhibited widely, notably at the Museum of Contemporary Canadian Art and The Art Gallery of Ontario.
Carleton University Art Gallery (2001) 42 pages, 12 col. ill., 8x9 in. 077090453X softcover
Provocation to Conversation: The Lithography of Otis Tamasauskas 1984-1997
Potvin looks at the work of the lithography teacher and studio founder as a pivotal force within the larger context of printmaking in North America - from the boom in the 1970s through the downturn in the late 1980s to today's revival. Tamasauskas' neo-expressionist work itself is noted for its investigation into both technology and autobiography. Otis Tamasauskas has taught at Queen's University and exhibited across the country.
Carleton University Art Gallery (2001) 34 pages, 12 col. ill., 8x6 in., 077090453x softcover
An exploration of the visual languages in the work of eleven young artists who work with, in and around the theme of the body. While acknowledging that there is not one universal concept of the body Dyck navigates through this eclectic range of work by creating four loose trajectories: the Exterior Body ("outside the body"), "The Interior Body ("under its skin"), The Body and Identity ("the body and the construction of identity"), and The Urban Body ("its being in the world").
Carleton University Art Gallery (2001) 54 pp 15 col. ill., 9x7 in., 0770904394 softcover
Jan Allen's Speculative Science
The thrust of the artist's sculptural work is a hybrid of physicality and cybernetics and the essayist focuses on Allen's relations between the biological, psychological and technological aspects of identity.
Carleton University Art Gallery (1999) 16 p., 5 ill., 8x8 in 0770904238
Adrift With the Alphabet: The ABCs of Alex Wyse
Twenty-six sculptures reprise the artist's primary alphabet experience. The deceptively whimsical oeuvre recalls past experience and articulates a three dimensional personal history, with letters and their accompanying shapes and objects reflecting both happy and unhappy times. Born in England, Alex Wyse emigrated in the 1960s, spending many years living and working in the Canadian North.
Carleton University Art Gallery (1999) 34 p., 8 ill., 9 x 6 in. 0770904548
Four Women Who Painted in the 1930s and 1940s.
In an effort to address the imbalance in Canadian art history, Boutilier focuses on women's art clubs in pre-war Toronto and specifically on the careers of Rody Kenny Courtice, Bobs Cogill Haworth, Yvonne McKague and Isabel McLaughlin.
Carleton University Art Gallery (1998) 61 p., 11 ill., 9x6 in 0770904548
The Arctic Lithograph: Inuit Prints from the Collection of the Carleton University Art Gallery.
Jennifer Cartwright & Jessica Tomic-Bagshaw.
Cartwight provides a brief history of the introduction of graphic art into Canada's Arctic and Tomic-Bagshaw interviews master printmaker, Pitseolak Niviaqsi.
Carleton University Art Gallery (1998) 23 p., 8 ill., 9x6 in 0770904483
The Shadow Secured: Tintypes from a Private Collection
An essay on the origins and development of this 19th century photographic alternative to the Daguerreotype is accompanied by addendums on making, framing and dating. The illustrations include many Canadian examples.
Carleton University Art Gallery (1998) 19 p., 8 ill., 9x6 in 077090436x
A Stroke of Genius: The Invention and First Century of Lithography
The author provides an historical context for the invention of lithography and follows its growth at the hands of various artists and printers.
Carleton University Art Gallery (1998) 50 p., ill., 8x8 in 0770904521
Romancing the Stone: The Lithographs of Frederick Hagan.
In order to celebrate the 200th anniversary of the invention of lithography, the gallery has chosen to highlight the work of Canadian artist Frederick Hagan. Hagan has produced ceaselessly since the 1940s and has influenced all subsequent practitioners of the art. Dozens of full page illustrations.
Carleton University Art Gallery (1998) 60 p., ill., 8x8 in 0770904505
The Whole Hogg: Drawings by Barry Callaghan.
MIchael Bell & Vera Frenkel.
Two essays reveal how the use of text both underlines and undercuts the artist's preoccupation with the sensual, the base and human passions. Copiously illustrated with colour plates.
Carleton University Art Gallery (1997) 58 p., ill., 8x8 in 077090442x
Making Art Work in Cape Dorset
A look at the influence marketing and the spectacular commercial success has had on the style and character of Inuit art.
Carleton University Art Gallery (1997) 44 p., 23 ill., 0770904289
Qiviuq: A Legend in Art
The essay presents a sequence of the Qiviuq stories of the Canadian north as a complement to the works in the exhibition of Inuit prints and sculpture from several Arctic communities.
Carleton University Art Gallery. (1996) 58 p., 10 ill., 9 x 6 in 0770903959
Lasting Impressions: The Canadian Printmakers' Showcase, 1969 to 1974
A history of contemporary printmaking in Canada.
Carleton University Art Gallery (1996) 40 p. ill., 9 x 6 in 0770904149
Making Faces: Canadian Portaiture Between the Wars
The writer discusses the social construction of individual identity as it appears in works by various Canadian painters.
Carleton University Art Gallery (1996) 38 pp ill.
Leslie Reid: Surfacing
Reid's new paintings address the figure and the emotional aspects of maternity.
Carleton University Art Gallery (1996) 32 pp ill 8 x 8 in 077090405X
Graphic Design in Canada Since 1945
The essayist searched the archives and the basements of Canada's leading graphic designers between 1945 and the early 1970s for the examples exhibited.
Carleton University Art Gallery (1996) 56 p., ill., 0770904092
Speculative Fictions: the Photomontages of Graham Metson, 1955-1995
James D. Campbell
Metson's photomontages address contemporary topics with an accent on the future applications of technology, mass media, and the information highway. The notion of prophecy is not far-fetched in the case of Metson's work as Campbell observes in his essay.
Carleton University Art Gallery. (1996) 32 pp il, 8 x 8 in 0770904076
The Other Alberta Sculpture: Catherine Burgess,Isla Burns, Peter von Tiessenhausen.
The sculptors were selected to show that the conventional notion of Alberta sculpture as only modernist and formalist is being accented with more complex practices.
Carleton University Art Gallery. (1995) 54 p., ill., 8x8 in 0770904009
From Iceberg to Iced Tea.
Victoria Henry and Shelley Niro (et al).
The co-curators record through their correspondence their experience organizing an exhibition of thirteen First Nations and Inuit photographers and filmmakers.
Carleton University Art Gallery. (1994) 52 p., ill., 9x7 in 0770903622
Patiently I Sing:Selections from the Tyler/Brooks Collection of Inuit Art.
Marion E. Jackson (ed).
This publication documents an exhibition of Inuit prints by women artists selected from the collection of Priscilla Tyler and Maree Brooks.
Carleton University Art Gallery (1994) 62 p., ill., 7x4 in 0770903665
Constellations: Surrealism and Its Affinities, A Selection of Works on Paper from the Michel P. Christensen Collection
Carleton University Art Gallery (1994) 16 pages, illustrated
Colville Being Seen: The Serigraphs
Carleton University Art Gallery (1994) 70 pp ill. Softcover:
$25.00$7.50 Hardcover: $35.00$15.00
Anatomy: Photographs by Michael Torosian
Carleton University Art Gallery (1993) 46 pages, illustrated
Kanata: Robert Houle's Histories
The book documents a native artist's response to the icon of Canadian History: Benjamin West's The Death of General Wolfe in the National Gallery of Canada, and contains an extensive interview with the artist.
Carleton University Art Gallery (1993) 27 p., ill.