ABC Art Books Canada

The Ottawa Art Gallery / La Galerie d'art d'Ottawa


nichola feldman-kiss: witness
nichola feldman-kiss, Michelle Gewurtz & Catherine Sinclair, Robert Enright and Sara Matthews

FeldmanKiss.jpgspacer.gifThis career overview brings together personal and political narratives present in works spanning fifteen years. nichola feldman-kiss’ artistic practice has evolved from using her body/psyche as a site of exploration of identity narratives framed by interests in psychoanalysis, feminist and postcolonial theories of subjectivity. Recent artwork stems from the artist’s observations of violent global conflict following her time spent with the Canadian Forces (2010-2011) where she trained for peace service and deployed to the UN Mission in Sudan to bear witness to violent conflict and collective trauma. Most recently the artist has worked with partners in India to research the historical remnants of the international trade in human osteological specimens to continue her study of the body, contemporary geopolitics, and cultural imperialism. This publication attends to all of these aspects of feldman-kiss’ body of work and maps a progression by providing analysis of four installations: the intuitive source material of the reliquarium database (2000); the personal and often jarring juxtapositions of childish objects (1966-), including the machine object the camera eye (aka. Witness) (1972, 2006 - 2015); her witness of the Sudanese conflict as reflected in the haunting video triptych after Africa \ “So long, Farewell” (sunset) / a yard of ashes (continuous cross) / “Oh! How I hate to get up in the morning!” (sunrise) (2012). Original essays are accompanied by the artist’s commentary on her most recent intervention, between here and there (2015), which exposes our complicity in the exploitation of oppressive global markets. Toronto-based nichola feldman-kiss has been exhibiting since 1992 most notably at the Centre des arts Enghiens les Bains, Île-de-France (France), Cambridge University, Cambridge (U.K.), Digital Art Centre, Stockholm (Sweden), and Factory Superstars, Helsinki (Finland). In English and French.

The Ottawa Art Gallery (12/2016) 95 pp col. ill. 9 x 6 in softcover  9781894906500   $20.00 Can. $20.00 U.S.

Jerry Grey On the Grid 1968-1978

Susan Crean and Michelle Gewurtz

gerry grey.jpgspacer.gifWorking in oils, watercolour, pastels and glass media, Jerry Grey explores themes of nature, politics and history. Her work from the 1970s links directly to her time participating in the highly influential Emma Lake Artists’ Workshops in Saskatchewan. Modern painting in North America was evolving toward ever more austere, reduced realms of colour and form and Grey participated in the 1964 and 1965 Emma Lake Artists’ Workshops, which were jointly led by painter Jules Olitsky & composer Stefan Wolpe (’64) and artist Lawrence Alloway and John Cage (’65). The works she produced between 1968-1978 stand as meditative monuments to the grid as a visual structure that continues to offer up transformative possibilities. Every mark on the surface of each work represents a well-thought-out exploration of space. Each stroke of paint speaks to a practice of controlled study of the interplay between colours. While her grid paintings demand a certain level of introspection, Grey's work simultaneously implies both a mapping of the space of the canvas and an acknowledgement of the world beyond the frame. The paintings and colour studies reproduced and discussed in this exhibition catalogue speak to the power of the grid as a visual structure that continues to offer up transformative possibilities. Born in Vancouver, Jerry Grey studied at the Vancouver School of Art and at the University of Saskatchewan's Emma Lake Artists' Workshop. Her works are found in numerous public, private and corporate collections, including the National Council for Culture, Arts and Letters in Kuwait, the National Library of Canada, and the Art Gallery of Ontario. Jerry Grey has taught at the Banff School of Fine Arts, The Emily Carr School of Art, the University of Ottawa, and the Ottawa School of Art, and has completed several important public art commissions. She lives and works in Ottawa. In English and French.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (10/2016) 95 pp col. ill. 10 x 8 in softcover 9781894906531$25.00 Can. $27.00 U.S.

Andrew Wright: Pretty Lofty & Heavy All At Once

Carol Payne, Randy Innes, Ola Wlusek and Michelle Gewurtz
With an introduction by Alexandra Badzak

wright.jpgspacer.gifFour distinct exhibitions featuring Andrew Wright’s multimedia works form the backbone of this superbly produced exploration of an artistic practice preoccupied with the discourses of photography. Wright's multivariate photographic, sculptural and video work decipher the visual opportunities that photographic technologies make possible, while drawing on theoretical models of the photographic that are less concerned with its ability to depict than with its more digressive properties. Scholars set out to show that Wright's work is located within key contemporary discourses on the status of photography, art, and the image. The artist’s contributions to the publication are multiple: his photographs are reproduced as full-colour plates that cleverly punctuate texts; and as pieces that attend to the history of the medium itself, his images reflect and refract off of the silvered pages interspersed throughout the book. Works discussed appeared in different configurations in Penumbra, a mid-career survey at the 2013 CONTACT Photography Festival at The Art Museum University of Toronto, Selected Diptychs & Multiples at the Thames Art Gallery (2014), Tableaux photographiques non-titrés at Patrick Mikhail Gallery, Montréal (2015) and Pretty Lofty & Heavy All At Once, The Ottawa Art Gallery (2015). Essays in English and French.

Andrew Wright has exhibited across Canada and abroad in solo exhibitions including: Presentation House, Vancouver; London Gallery West, UK; Prefix ICA, Toronto; University of California, Berkeley. Wright's work was also shown at Beijing's Today art Museum. In 2011, he won the inaugural Gattuso Prize at Scotiabank CONTACT Photography Festival in Toronto. Carol Payne is the author of The Official Picture: The National Film Board of Canada's Still Photography Division and the Image of Canadian Nationhood, 1941-1971 (2013) and coeditor with Andrea Kunard of The Cultural Work of Photography in Canada (2011). Randy Innes held the History of Photography research fellowship at the National Gallery of Canada, and has published research and exhibition essays on historical and contemporary photography, museum theory and practice, and contemporary painting. Ola Wlusek is an independent curator with an MA in Contemporary Art Theory from Goldsmiths College, University of London. She has worked in educational and curatorial departments at public art institutions in Canada and abroad for the past ten years. Michelle Gewurtz is the Interim Senior Curator at the Ottawa Art Gallery. She holds a Ph.D. in the History of Art from the University of Leeds, with a specialty in Feminist Theory, History and Criticism in the Visual Arts.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (07/2016) 144 pp col. ill. 9.5 x 7 in softcover  9781894906517  $30.00 Can. $30.00 U.S.

Gail Bourgeois: Correspondence
Rebecca Basciano

bourgeois.jpgspacer.gifPublication documenting conceptual works that reflect artist Gail Bourgeois' engagement with the Firestone Collection of Canadian Art - one of the country's most important collections of works by modernist artists such as Arthur Lismer, A.Y. Jackson, Edmund Alleyn and Anne Savage. Bourgeois' renderings in ink wash, wax crayon, graphite and watercolour are simultaneously organic and architectural, delicate and bold, and reveal her sophisticated understanding of composition. The artist draws inspiration from roots, rhizomes and mycelial networks found in nature, intermingled with themes such as connectivity, multiplicity and cartography found in A Thousand Plateaus (1980), the collaborative philosophical text authored by Gilles Deleuze and Félix Guattari, to produce works that cause a rupture in overarching narratives and serve as a departure point for new ways of thinking. Gail Bourgeois is a founding member of the feminist art space Powerhouse Gallery (La Centrale, Montréal), and has founded or formed part of a dozen artists' collectives. In English and French.

The Ottawa Art Gallery (06/2016) 38 pp col.ill. 10 x 7 in softcover   9781894906524   $10.00 Can. $12.00 U.S.

Alma: The Life and Work of Alma Duncan

Tom McSorley, Anne Maheux, Jaclyn Meloche, Catherine Sinclair, and Rosemarie L. Tovell

alma.gifspacer.gifThis striking publication resurrects the ambitious career of an important Canadian artist and accompanies the first retrospective exhibition of her work in over 25 years. Largely self-taught, Alma Duncan (1917-2004) was extremely prolific and worked in a variety of media. Her paintings were first shown at the Montreal Museum of Fine Arts in 1937, and in 1942 she won an honorable mention in the Western Hemisphere Poster Competition held by the Museum of Modern Art, New York. In the early 1940s, she studied life drawing with Goodridge Roberts while making sketches on her own in the Anatomy Department of McGill University. Often considered an unofficial war artist, she made drawings of arms factories and shipyards, and depicted the activities of the Canadian Women's Army Corps. Her interest in war and industrial images continued throughout her career and was useful in her later work at the Canadian War Museum and National Gallery of Canada. In 1943, Duncan joined the Graphics Division of the National Film Board and, later on, their Animation Department. Her first film, Folksong Fantasy, was shown at the Edinburgh Film Festival in 1951. In that same year, she formed a partnership with photographer Audrey McLaren: a personal, commercial and artistic alliance that was to endure for the rest of their lives. Under the name Dunclaren, they released numerous animated films which they created in an Ottawa attic, and won international recognition for their work. Duncan participated in numerous Canadian and international exhibitions and was commissioned by Canada Post to design several popular stamps. Containing over 70 colour illustrations, this monograph features a wide range of work from Duncan's 60-year career, including portraits of well-known Canadians including P.K. Page and Norman MacLaren, ink on paper landscapes, abstractions, a selection of her acclaimed drawings of wartime industry and munitions factories, as well as several stunning self-portraits created over her lifetime. Tom McSorley is Executive Director of the Canadian Film Institute. Anne Maheux is Head, Conservation of Art on Paper, Maps and Manuscripts at Library and Archives Canada. Jaclyn Meloche is a visual artist and doctoral candidate at Concordia University. Catherine Sinclair is Senior Curator at The Ottawa Art Gallery. Rosemarie L. Tovell has authored and co-authored numerous exhibition catalogues, notably The Solitudes of Place: Recent Drawings by Ann Kipling (2011) and Take Comfort: The Career of Charles Comfort (2007). In English and French

The Ottawa Art Gallery / Judith & Norman Alix Art Gallery (10/2014) 176 pp 78 col. ill. 10.25 x 8.25 in hardcover   9781894906494    $55.00 Can. $65.00 U.S.

Miriam and Hudson Sargeant Art Collection

Catherine Sinclair

miriamhudsonsargent.gifspacer.gifThis catalogue documents the Gallery’s 2013 acquisition of the Miriam and Hudson Sargeant Art Collection: a significant holding of works by historical twentieth-century artists such as A.Y. Jackson and Marc-Aurèle de Foy Suzor-Coté, as well as by contemporary First Nations artists such as Norval Morrisseau and Jane-Ash Poitras. The Sargeants were both teachers and their influence was strongly and widely felt in the Ottawa community. Their love for the arts has now been extended to an even wider public. In English and French.

The Ottawa Art Gallery (07/2014) 26 pp 28 col. ill. 8.5 x 6 in softcover  9781894906487  $10.00 Can. $12.00 U.S.

David R. Harper: Entre le Chien et le Loup

Robin Metcalfe, Crystal Mowry, Jan Peacock, Lisa Stone and Jim Zanzi

harper.jpgspacer.gifEnclosed within a hardcover slipcase, this sober volume opens to reveal a remarkable artistic practice. Working in a range of disparate disciplines including embroidery and taxidermy, David R. Harper creates elaborate objects that situate themselves between sculpture and public memorial. With installations that look at key historical periods of cultural, scientific and artistic development, the artist conjures up particular modes of craft and domestic embellishment that articulate peculiar links to an ‘ordered’ natural world. Reflecting upon cultural fetishes like preserved animals in 19th century parlors and museums, and bear skin rugs in mid-20th century suburban rec rooms and modern western rural homes, Harper engages the viewer in a dialogue on the historical and emotional weight that the objects embody. The publication’s subtitle refers to a French expression evoking that uncertain time of day just before evening when one cannot distinguish a dog from a wolf, or the familiar from the dangerous. David R. Harper is a Chicago-based Canadian artist whose work has been exhibited in solo and group exhibitions throughout Canada and the United States, notably: National Gallery of Canada (Ottawa), Textile Museum of Canada (Toronto), and MASS MoCA (North Adams, MA). This publication accompanies a cross-country exhibition and is co-published with Doris McCarthy Gallery, Kitchener-Waterloo Art Gallery, Kenderdine Art Gallery and St. Mary’s Gallery.

The Ottawa Art Gallery (07/2014) 120 pp 40 col. ill. 8.5 x 5.5 in hardcover (with slipcase)   9780772754141   $30.00 Can. $35.00 U.S.

Jinny Yu: To Activate Space

Mark A. Cheetham, Penny Cousineau-Levine and Ola Wlusek

jinnyyu.jpgspacer.gifJinny Yu challenges more than the concept of painting. Her work questions the very existence of predisposed artistic practices as she blurs the lines between methodology and ideology. Oscillating between the fields of the abstract painting and the object, Yu seeks out aspects of painting beyond the pictorial space, striving to depict that which is beyond the image. The choice of materials is integral to her artistic practice and conceptual preoccupations and she frequently paints with oil on aluminum, whose semi-reflective surface comprises a pictorial space. For the artist the pictorial space of the aluminum is a material fact, a pre-existing condition of the as yet unpainted surface, and by painting on such a surface, one that is already pictorial, Yu’s work begins where painting often ends. Published with Éditions Art Mûr, this monograph is thoroughly illustrated with original essays and an interview with the artist. Born in Korea in 1976 and based in Canada since 1988, Jinny Yu has shown widely, with exhibitions at the ISCP Gallery (Brooklyn), Pulse New York, Bevilacqua La Masa Foundation (Venice), the Kyoto Municipal Museum of Art (Kyoto), and Sotheby’s (London, UK). Mark A. Cheetham is Professor in the Department of the History of Art at the University of Toronto and author of Abstract Art Against Autonomy: Infection, Resistance, and Cure since the 60s. Penny Cousineau-Levine is Professor of the History and Theory of Art at the University of Ottawa and author of Faking Death: Canadian Art Photography and the Canadian Imagination. Ola Wlusek is Curator of Contemporary Art at The Ottawa Art Gallery.

The Ottawa Art Gallery (2014) 59 pp 30 col. ill. 10 x 9.5 in softcover 9782923243078   $30.00 Can. $35.00 U.S.

In the Flesh / En chair et en os : Lance Belanger, Dana Claxton, Brad Isaacs, Meryl McMaster 

Ariel Smith & Ola Wlusek

intheflesh.gifspacer.gifFour artists of First Nations heritage examine the hierarchical relationship between humans and animals within a cultural and museological context, and investigate colonial politics and issues of gender as they relate to the mastery of the natural world. The video installation of Dana Claxton (Dakota) illustrates the decimation of the buffalo with its irreversible and distressing effects on the First Nations people and the landscape. The re-constituted animals of Lance Belanger (Maliseet) are positioned unsettlingly between the artifice of natural history and as objects of contemporary culture. The politicized space of the museum and the practice of taxidermy are investigated by Brad Isaacs (mixed heritage) in a series of colour photographs of animal hides and wildlife dioramas taken at North American and Canadian museums. Through self-portraiture, Meryl McMaster (Plains Cree) investigates the mix of dream and reality inside the hunting ground while symbolically evoking her bi-cultural identity in a strategy of resistance.  Produced to coincide with the National Gallery of Canada's Sakahàn: International Indigenous Art exhibition. In English and French.

Quatre artistes d’origine aborigène examinent les relations hiérarchiques entre humains et animaux dans un contexte culturel et muséal. Ils étudient également la politique coloniale, ainsi que les questions de genre dans le cadre notre l’emprise sur le monde naturel. La rédactrice invitée Ariel Smith souligne, « Grâce à En chair et en os, la Galerie d’art d’Ottawa participe à l’indigénisation de galeries à l’échelle de la ville avec l’événement Sakahàn : art indigène international du Musée des beaux-arts du Canada. Ce processus ne se déroule pas dans un vide : réfléchissons à comment ces actes de revendication de territoire répondent à la fois à la politique courante et historique de la souveraineté culturelle autochtone ». En français et anglais.

The Ottawa Art Gallery / La Galerie d’art d’Ottawa (12/2013) 83 pp 40 col. ill. 8.5 x 6 in softcover/souple  9781894906463   $15.00 Can. $18.00 U.S.

Natural Motif / Sur le motif : Lorraine Gilbert & Natasha Mazurka

Catherine Sinclair

naturalmotifweb.jpgspacer.gifCanadian artists Lorraine Gilbert and Natasha Mazurka offer new works inspired by the Group of Seven. These two bodies of work, though distinct, reveal how the images and patterns of the natural world we observe have been chosen by the artist, framed for our consumption, and carry with them the weight of a selected history. Lorraine Gilbert is a renowned landscape photographer best known for her documentation of the impact of the forest industry on British Columbia's environment. Natasha Mazurka is a painter who has exhibited nationally and internationally. In English and French.

Deux artistes canadiennes proposent des œuvres inspirées par le Groupe des Sept. Ces deux ensembles d’oeuvres, bien que distincts, démontrent que les images et les formes du monde naturel qui nous sont données à voir ont au préalable été choisies par l’artiste, sont mises en forme pour notre consommation et portent le poids d’un passé déterminé. La photographe paysagiste de renom Lorraine Gilbert est surtout connue pour sa représentation des effets de l’industrie forestière sur l’environnement de la Colombie-Britannique. Natasha Mazurka est une peintre avec une réputation nationale et internationale. En français et anglais.

The Ottawa Art Gallery /La Galerie d’art d’Ottawa (01/2013) 26 pp 11 col. ill. 8.5 x 6 in softcover / souple  978-1-894906-45-6   $15.00 Can. $18.00 U.S.

Christos Pantieras: Your Word is Bond / Les mots de votre parole
Johanna Mizgala

pantieras.gifspacer.gifChristos Pantieras (b. Ottawa Canada 1971) creates installation and mixed media works from the accumulation of invested acts as a means to regain traces of lost interaction. This first monograph features four inter-related works. Each piece stands as a chronicle of a separate relationship, linked together via correspondence that lays it bare, from initial flirtations to parting words. Pantieras gives the dialogue shape in varying forms: a trailing scroll of paper coated in wax and stitched together with wicks; graph paper obliterated by letterpress, bricks made from the burned candles collected from his Greek Orthodox Church, as well as a wall of envelopes separating the psychological space between sender and receiver. In English and French.

Christos Pantieras propose quatre pièces interreliées qui représentent chacune l’histoire d’une relation particulière, mise à nu par la correspondance, des premiers engouements aux derniers mots. Il décline le dialogue en différentes formes : un long rouleau de papier recouvert de cire et cousu avec des mèches de bougie ; du papier quadrillé oblitéré par de la typographie ; des briques fabriquées de la cire recueillie de vieilles bougies de son église orthodoxe grecque ; et un mur d’enveloppes qui divise l’espace psychologique entre émetteur et récepteur. En français et anglais.

The Ottawa Art Gallery / La Galerie d’art d’Ottawa (11/2012) 22 pp 10 col. ill. 10 x 6.5 in  softcover / souple  978-1-894906-44-9  $18.00 Can. $20.00 U.S.

 Decolonize Me / Décolonisez-moi (OUT OF PRINT)
Heather Igloliorte, Brenda L. Croft, Steve Loft

spacer.gifSix contemporary Aboriginal artists challenge, interrogate and reveal Canada's long history of colonization in daring and innovative ways. Through a wide variety of media and strategies their work explores themes of past wrongdoings and strategies for reclaiming Aboriginal voice through an examination of the specific ways that diverse Aboriginal groups have experienced colonialism and the approaches these distinct peoples currently employ to restore and revitalize their communities, lives and practices. While focused on Canada's own history, the work and its discussion participates in the global anti-colonial movement and the ongoing transnational conversation by artists and other Indigenous peoples. Three original essays are accompanied by statements by each of the artists translated into their respective Indigenous languages, including Mi’kmaq, Cree, Gwi’chin, Likwila and Inuttitut. Participating artists are Sonny Assu, Jordan Bennett, Cheryl L’Hirondelle, Nigit’stil Norbert, Barry Pottle, and Bear Witness.In English and French.

Six artistes autochtones contemporains remettent en question la longue histoire de la colonisation au Canada et y jettent une lumière audacieuse et nouvelle. L'œuvre des artistes explore les défis et les résultats de la colonisation et de la décolonisation tout en mettant au grand jour les conséquences qu'ont eu ces phénomènes sur les identités autochtones et colonisatrices au Canada, tant au niveau individuel que collectif. Quoique axée sur l'histoire canadienne, l'exposition s'insère dans la montée d'un mouvement international d'anticolonialisme ainsi que dans un dialogue continu entre artistes et peuples autochtones de partout dans le monde. Trois essais sont accompagnés de textes d’artistes chacun traduit dans sa langue respective, notamment le Mi’kmaq, le Cree, le Gwi’chin, le Likwila et l’Inuttitut. Les artistes participants sont : Sonny Assu, Jordan Bennett, Cheryl L’Hirondelle, Nigit’stil Norbert, Barry Pottle, and Bear Witness. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Otawa / The Robert McLaughlin Gallery (09/2012)  160 pp 60 col. ill. 9 x 6.25 in softcover / souple  978-1-894906-43-2  $30.00 Can. $35.00 U.S.

Pat Durr: Persistence of Chaos / Chaos persistant
Catherine Sinclair & Jen Budney


Whether painting large-scale abstract canvases, levering an hydraulic press to create prints of industrial waste, or fighting for artists’ rights, Pat Durr tackles art-making and activism with unrivaled vigour. This first career monograph features several decades of Durr’s work, from early drawings of the 1960s, to explosive multi-panel paintings from the 1980s, as well as her large-scale calligraphic monoprints. Grounded in a foundation of Abstract Expressionism, Durr’s practice merges autobiographical symbols with social critique. While navigating between distinct media, she has engaged with subject matter ranging from overt political commentary, to the destruction of environmental habitats, to a more concentrated interest in the waste produced and consumed by society; all intermingled with personal experiences and narratives. In English and French.

Qu’elle peigne de grandes toiles colorées et abstraites, qu’elle manipule une presse hydraulique de cinq par dix pieds pour créer des estampes de déchets industriels, qu’elle écrase des cannettes de boissons gazeuses avec sa voiture pour en faire une installation, ou qu’elle revendique les droits des artistes à l’échelle municipale ou nationale; Pat Durr s’attaque à la création et au militantisme avec une vigueur inégalée. Originaire de Kansas City, Durr s’installe à Ottawa en 1964 et plonge rapidement dans le milieu artistique de la ville. Elle donne son temps généreusement à des organismes tels que le Front des artistes canadiens (CARFAC) et la Fondation de la Cour des arts d’Ottawa - la fondation qui mène la mise sur pied de la Cour des arts et finalement, de la Galerie d’art d’Ottawa. En anglais et français.

The Ottawa Art Gallery / La Galerie d’art d’Ottawa (03/2012) 96 pp 28 col. ill. 12 x 9 in softcover / souple  978-1-894906-42-5  $30.00 Can. $32.00 U.S. (24 €)

Alex Wyse: Wyse Works, Exposing the Inevitable / Les travaux de Wyse, exposer l’inévitable

Catherine Sinclair & Christopher Youngs

wyse.gifspacer.gifThis monograph presents over five decades of work by this prolific artist and reveals the variety of ways and creativity with which Alex Wyse has expressed his distinct worldview. Taking the vein of environmental consciousness running through Wyse’s work, the authors stress key works that disclose the human folly that so often underlies environmental disaster such as: the Super Shows Presents series that began in the late 1960s; the elaborate tableaus depicting the inventive antics of the Rutherford siblings from the mid-1970s; and the pointillist paintings, where troubled fish and trees try to escape their spoiled environments from the mid-1980s onward. Alex Wyse has exhibited at the Vancouver Art Gallery and the National Gallery of Canada and his works are found in permanent collections across Canada, including the Art Gallery of Ontario, the Mendel Art Gallery and the Ottawa Art Gallery.

Avec plus de cinq décennies de créations de cet artiste prolifique, cette monographie révèle les facettes plurielles et la créativité de Alex Wyse dans l’expression de sa vision singulière du monde. Les auteures ont choisi la conscience environnementale qui traverse l’œuvre de Wyse comme fil conducteur de l’exposition. Au fil des ans, il divulgue invariablement la sottise humaine qui sous-tend si souvent les désastres environnementaux. Il y a les boîtes-sculptures de bois de la série Super Shows présente amorcée à la fin des années 1960 ; les tableaux élaborés dépeignant les gambades inventives de la fratrie Rutherford du milieu des années 1970 ; les toiles pointillistes, où les poissons et les arbres troublés tentent de s’enfuir de leurs environnements dévastés depuis milieu des années 1980. En français et anglais.

The Ottawa Art Gallery/ La Galerie d’art d’Ottawa (07/2011)  48 pp 24 col. ill. 10 x 8 in softcover  978-1-894906-40-1  $25.00 Can. $29.95 US (20 €)

 Joyce Frances Devlin : So Much Beauty / Tant de beauté
Catherine Sinclair & Joyce Frances Devlin
devlin.gifspacer.gifWith a practice going back thirty years the Ottawa-based painter has become well-known for her skilled portraits, abstract collages and tapestry-like paintings. This first monographic publication features Devlin’s new and recent landscapes. This body of work is characterized by daring colours and metaphorical paintings of birds, trees and flowers. Devlin calls them works her “interior landscapes.” Works by Joyce Frances Devlin can be found in many collections including the Firestone Collection held in trust by the gallery. In English and French.

Joyce Frances Devlin est une artiste contemporain qui vit et travaille à Ottawa depuis une trentaine années. Elle est reconnue pour ses portraits, ses collages abstraits, ses motifs semblables à la tapisserie, ses paysages de coloris osé et pour ce qu’elle nomme ses « paysages intérieurs », des peintures métaphoriques d’oiseaux, d’arbres et de fleurs. Cette première monographie met en vedette les toiles actuelles de paysages régionaux de Devlin. En français et en anglais.

The Ottawa Art Gallery / La Galerie d’art d’Ottawa (07/2011) 26 pp 25 col. ill. 10 x 10 in softcover 978-1-894906-41-8  $20.00 Can. $23.95 U.S. (16 €)


Duncan de Kergommeaux: These Are The Marks I Make / Ces marques que je fais
Emily Falvey, Andrea Fatona & Bernard Bonario 
kergommeaux.gifspacer.gifDuncan de Kergommeaux is a painter whose career as an artist spans almost six decades. From the formative abstractions of the 50's through his linear abstractions and illuminated cube paintings of the 60's, the systemized process-oriented grid paintings and support-specific drawings of the 1970's, on into the more recent painterly embellishments of the landscape, this publication reveals de Kergommeaux as an artist whose interest in process, form, abstraction and perception has led him on in his quest for understanding the creative process. This long-overdue monograph features works produced over a period spanning 1968 to 2008 and shows one artist’s persistence in the face of painting’s declared demise. Co-published with Museum London. In English and French.

Duncan de Kergommeaux est un peintre dont la carrière couvre près de soixante ans. De ses abstractions formatrices des années 1950 à ses abstractions linéaires et ses tableaux cubes lumineux des années 1960, de ses tableaux-grilles basés sur un processus systémique à ses dessins liés aux supports des années 1970, jusqu'à ses plus récents embellissements picturaux du paysage, cette publication présente un artiste dont l'intérêt pour le processus, la forme, l'abstraction et la perception l'a lancé dans une quête de compréhension du processus créateur par les marques qu'il fait. La monographie réunit des œuvres produites de 1968 à 2008. Créés en réaction aux songeries intellectuelles sur la «mort de la peinture », ses tableaux-grilles des années 1970 forment le pivot de le présentation. Co-éditée avec le Museum London. En français et anglais.

The Ottawa Art Gallery/La Galerie d'art d'Ottawa (06/2011) 80 pp 30 col. ill. 10 x 8 in hardcover  978-1-894906-39-5  $30.00 Can. $35.00 U.S. (24 €)


Marie-Josée Laframboise : Ensembles réticulaires  / Network Installations

Eve-Lyne Beaudry, Andrea Fatona, Joan Stebbins & Marie-Josée Laframboise

mjlaframboise.gifspacer.gifL'artiste Marie-Josée Laframboise s'éloigne des notions traditionnelles de la cartographie en s'immergeant dans des espaces qu'elle construit à partir d'espaces existants. Ses sculptures de techniques mixtes attirent l'attention sur l'élasticité de limites architecturales et géographiques apparemment rigides. Par la fusion de ses intérêts pour la mathématique, l'architecture et le dessin, elle bouleverse nos idées préconçues de l'espace (et du lieu) et les façons dont nos corps traversent le territoire dans leur déplacement collectif. Abondamment illustrée, cette publication comprend un entretient avec l’artiste, ainsi que deux essais originaux. L’œuvre de Marie-Josée Laframboise a fait sujet d’expositions au Canada et en Europe, notammant au Musée d’art moderne et d’art contemporain de Nice. En français et anglais.

Artist Marie-Josée Laframboise departs from traditional notions of cartography by constructing original environments out of preexisting spaces. These mixed-media sculptures draw attention to the elasticity of seemingly rigid architectural and geographical boundaries. Merging her interests in mathematics, architecture and drawing, she subverts our preconceived notions of space (and place) and the ways in which the collective movement of our bodies negotiate territory. Collaboratively produced by three institutions, this first monograph on the work of the artist contains two essays and an interview. Marie-Josée Laframboise has exhibited nationally and internationally most recently at The Musée d’art moderne et d’art contemporain de Nice. In English and French.

Musée d’art de Joliette / Southern Alberta Art Gallery / Galerie d'art d'Ottawa 144 pp 100 ill. 20 x 16 cm souple / softcover  978-2-921801-48-5   $30.00 Can.  $35.00 U.S. (24 €)

Michael Schreier : Storyteller / Waiting for words = Chroniqueur / Que viennent les mots

Emily Falvey

schrier.gifspacer.gifMichael Schreier’s photographic art represents several years’ inquiry with particular reference to his birthplace, Vienna, Austria. His portraits and photographs of architectural details offer powerful entry into another place and another time: the Holocaust. In her essay, Falvey probes this compelling work with a discussion of the “refusal to depict what cannot or should not be represented realistically; an art of respectful silence before sublime history.” Schreier’s work navigates these troubled aesthetic waters. In English and French.

L’art photographique de Michael Schreier est le fruit de longues années d’investigation, tout particulièrement, de son lieu de naissance, la ville autrichienne de Vienne. Son œuvre nous laissent entrer dans les histoires de jadis situées dans d’autres lieux, spécifiquement l’Holocauste. Dans son texte, Falvey cherche à « faire voir qu’il y a quelque chose que l’on peut concevoir et que l’on ne peut pas voir ni faire voir. » Schreier a la reputation de savoir naviguer ces eaux troubles esthétques. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (07/2010) 52 pp 10 x 8 in softcover/souple 978-1-894906-38-8 $20.00 Can. $23.95 U.S. (16 €)

Fibred Optics / Perspectives métissées

Andrea Fatona
fibredoptics.gifspacer.gifFibred Optics features four artists (Frances Dorsey, Jérôme Havre, Ed Pien, Michèle Provost) whose work incorporates natural and synthetic fibres, old and new technologies, and methodologies from the world of craft and contemporary art. Each artist uses fibre to produce and transmit individual and collective narratives that are at once coherent and fragmented, visible and invisible. Two booklets hand-bound together. In English and French.

Perspectives métissées présente quatre artistes (Frances Dorsey, Jérôme Havre, Ed Pien, Michèle Provost) qui emploient fibres naturelles et synthétiques, technologies anciennes et nouvelles, et méthodes des métiers d’art et de l’art contemporain. Chacun emploie la fibre pour créer et transmettre des récits personnels et collectifs qui sont à la fois cohérents et fragmentés, visibles et invisibles. Deux livrets cousus ensemble à la main. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (03/2010) 44 pp 7 x 9 in softcover (hand-bound)  souple (cousu à la main)  978-1-894906-37-1 $30.00 Can. $35.00 US (24 €)

Evidence: The Ottawa City Project / Signes : Le projet Ville d’Ottawa
Emily Falvey

Ottawa, the nation’s capital, is often wrongly viewed as boring. In fact it is one of the most paradoxical places in Canada. This poster-like publication charts the work of artists who embody an alternative Ottawa, a living city that is constantly changing. In English and French.

Ottawa, la capitale nationale, est parfois qualifiée à tort d'ennuyante. En fait, c'est l'un des lieux les plus paradoxaux du Canada. Cette publication en forme d’affiche présente plusieurs artistes qui dressent les preuves d'une autre Ottawa, une ville animée et toujours changeante. En français et anglais.

The Ottawa Art Gallery / La Galerie d’art d’Ottawa (06/2009) foldout / dépliant 8 x 6 in 978-1-894906-36-4 $5.00 Can. $6.00 U.S. (3 €)

Michael Harrington & Wyn Geleynse: Mannish / Comme un homme

Petra Halkes

This thematic publication presents the work of two artists who address issues of the performance of masculinity in contemporary Western society. Harrington paints images of anonymous men in hotel rooms, airports and barrooms, their postures and rituals containing only traces of the traditional ideals of masculinity. Geleynse's film and video installations work to unmask the male masquerade with gentle humour and unsparing mockery. In English and French.

Cette publication présente l’œuvre de deux artistes qui abordent la question de la masculinité et de ses manifestations dans la société occidentale contemporaine. Les tableaux de Harrington représente des hommes anonymes dans des chambres d'hôtel, aéroports et bars. Les postures et rituels de ces hommes d'âge moyen évoquent à peine les idéaux traditionnels de la masculinité. Les installations filmiques et vidéo de Geleynse contribuent à démasquer la mascarade masculine avec un humour délicat et une impitoyable dérision. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (03/2009) 40 pp col. ill. 7.5 x 9 in softcover 978-1-894906-35-7 $20.00 Can. $21.95 U.S. (14 €)

Mary Anne Barkhouse: The Reines of Chaos / Les Rênes du chaos
Emily Falvey

Mary Anne Barkhouse is a First Nation artist and descendent of a long line of internationally recognized artists that includes Ellen Neel and Mungo Martin. This publication documents an ambitious new body of muti-media work intent on exploring the use of apocalyptic metaphors in warfare and cultural subjugation. In English and French.

Mary Anne Barkhouse, artiste de Première nation, descend d’une longue lingnée d’artistes de renommée mondiale dont Ellen Neel et Mungo Martin. Cette publication documente une nouvelle oeuvre ambitieuse où l’artiste fait appel à la métaphore de l’apocalypse pour traiter de la guerre et de la domination culturelle. En français et anglais.
The Ottawa Art Gallery/ La Galerie d’art d’Ottawa (01/2009) 64 pp col. ill. 6 x 5 in softcover 978-1-894906-34-0 $20.00 Can. $21.95 U.S. (14 €)

The Contemporary Art Collection / The Firestone Collection of Canadian Art.
La Collection d’art contemporain / La Collection Firestone d’art canadien.

Emily Falvey, Glen A. Bloom, Catherine Sinclair & Benjamin Gianni

This two-volumes-in-one publication marks two events: the 20th anniversary of the Gallery and the 35th anniversary of the Firestone Collection of Canadian Art entering the public domain under the care of the Gallery. The Contemporary Art Collection looks at the nature and process of collecting by a public gallery. The Firestone Collection of Canadian Art looks at one of the most important private collection donations to a public gallery. Bound together in a tumble-book format, these two volumes contrast the private-to-public nature of collecting with the building of a public collection through curatorial processes. In English and French.

Cette publication célèbre deux évènements : le vingtième anniversaire de la Galerie d’art d’Ottawa et le trente-cinquième anniversaire de la Collection Firestone d’art canadien qui est gérée par la Galerie. La Collection Firestone est une ressource unique avec des œuvres remarquables des artistes les plus influents du Canada. Quatre auteurs explorent les paramètres des collections privées telles que la Collection Firestone et des collections publiques telles que la Galerie d’art d’Ottawa. Deux volumes édités en une seule reliure. En français et anglais.

The Ottawa Art Gallery/ La Galerie d’art d’Ottawa (11/2008)
128 pp 67 col. ill. 10 x 8 in hardcover / couverture rigide 978-1-894906-32-6 $30.00 Can. $32.95 U.S. (24 €)

Mark Marsters: Marsterpiece Theatre / Comédie humaine

Adrian Göllner & Catherine Sinclair

Mark Marsters (1962-2002) was an artist interested in challenging the status quo and expanding horizons with his artistic practice and often controversial subject matter. Always present is an abiding interest in social commentary - incisive, yet good-humoured. This first monograph accompanies a retrospective exhibition on the career of this prolific artist, including early sketches, large installations, and colourful wordplay. In English and French.

Un regard rétrospective sur le travail artistique de Mark Marster (1962-2002), un travail marqué par la défiance, la controverse, et un humour incisif. Travaillant dans une grande variété de disciplines, l’artiste a toujours privilégié le commentaire sociales. En français et anglais.

The Ottawa Art Gallery / La Galerie d’art d’Ottawa (11/2008) 48 pp 17 col. ill. 9.5 x 8.5 in softcover 978-1-894906-33-3 $20.00 Can. $24.00 U.S. (16 €)

Oh So Iroquois / Tellement Iroquois

Ryan Rice et al

Publication of a group exhibition featuring the work of two dozen artists who belong to the Iroquois Confederacy, an historical alliance of many nations scattered over two countries and countless urban centres. Essayists explore the dynamism of both traditional and contemporary Iroquoian creative processes, discussing work that is deeply rooted in a cultural system of values and æsthetic qualities that permeate contemporary social, political, spiritual, and economic life. Together, as members of the Confederacy, these artists affirm and examine this collective art history through symbolism, narrative, colour, and contemporary and traditional media. By presenting a broad range of art situated in relation to an Iroquois world-view, the project aims to challenge the long-standing pan-Indian classification of Native North American art. Participating artists include Shelley Niro, Greg Staats and Jeff Thomas. In English, French and Mohawk.

Englobant plus de seize collectivités, deux pays et de nombreux centres urbains, la Confédération iroquoise se distingue toujours comme six nations unies par une même idéologie. Cette publication d’une exposition collective fait valoir le dynamisme de la créativité iroquoienne actuelle et traditionnelle, et propose des œuvres ancrées dans les valeurs culturelles et esthétiques dont est imprégnée l'infrastructure sociopolitique, spirituelle et économique de cette société. Avec la participation d’une vingtaine d’artistes, notamment Shelley Niro, Greg Staats et Jeff Thomas. En français, en anglais et an mohawk.

The Ottawa Art Gallery / La Galerie d’art d’Ottawa (09/2008)
140 pp 32 col. ill. 8 x 10 in hardcover / couverture rigide 978-1-894906-29-6 $30.00 Can. ($34.95 U.S. / 24 €)

Media Povera / Techno pauvre
Emily Falvey

Referencing the Italian post-war art movement, Arte Povera, this publication of a group exhibition examines the relationship between new and old technologies in contemporary art. Artists include Alexandre Castonguay, William Eakin, Darsha Hewitt and Stéphanie Brodeur, Calum Stirling and Michael Waterman. In English and French.

Techno pauvre examine le rapport entre anciennes et nouvelles technologies dans le travail de six artistes contemporains. À l'instar du mouvement italien d'après-guerre, Arte povera, elle interroge le rôle des nouvelles technologies dans l'art contemporain. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (10/2008) 72 pp col. ill. 7 x 4.5 in spiralbound 978-1-894906-30-2 $15.00 Can. $16.95 U.S. (12 €)

Adrian Göllner: Win Win / Gagnant-Gagnant
Emily Falvey & Ray Cronin

Adrian Göllner's work shrewdly satirizes the perverse relationship between autonomous art as exemplified by abstraction, and the socially dependent arts of design, advertising and propaganda. Favouring no particular medium, what remains consistent throughout his oeuvre is a unique and clever combination of humour, modernist aesthetics, pop culture, and political satire. In English and French.

Dans son travail, Adrian Göllner satirise astucieusement le rapport pervers entre l'art autonome (comme l'illustre l'abstraction) et les arts socialement dépendants du design, de la publicité et de la propagande. Ce qui ne se dément pas dans son travail où il ne préfère aucun procédé à un autre, c'est l'intelligente et originale fusion de l'humour, de l'esthétique moderniste, de la culture pop et de la satire politique. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (07/2007) 48 pp 19 col. ill. 8 x 8 in softcover 978-1-894906-28-9 $20.00 Can./U.S. (16 €)

Monika Napier & Carl Stewart: Relative / Relation
Johanna Mizgala

An exploration of gender, family history and the role of private and public relationships in the installation art of Carl Stewart and Monika Napier. In her essay, Mizgala discusses the complex processes of connection, difference and personal narrative in their work. "The works in Relative were developed concurrently, in response to our collective thinking about the concept of 'relative' as a state of being." In English and French.

The Ottawa Art Gallery/La Galerie d'art d'Ottawa (02/2007) 46 pp 30 ill. (16 col.) 6 x 6 in softcover 978-1-894906-26-5 $15.00 Can./U/S. (12 €)

Deborah Margo: Castings / Vestiges
Emily Falvey & François Dion

For over twenty years, Deborah Margo has developed an artistic practice that consists of temporary, site-specific installations and object making influenced by post-minimalism and process art. Whether it is through a painstaking record of light and shadows or the eerie efflorescence of hard round candy, Margo's work reveals the shadows between art and life and between two and three dimensional sculpture. Co-published with the Owens Art Gallery, Mount Allison University. In English and French.

Depuis plus de vingt ans, l'artiste d'Ottawa Deborah Margo place au cœur de sa pratique la fabrication d'objets et la création d'installations éphémères spécifiques au site. Publié en complément d'une exposition solo de son travail, ce catalogue bilingue comprend des planches en couleurs et des essais. Il s'agit d'une co-publication de la Galerie d'art d'Ottawa et de la Owens Art Gallery, Mount Allison University. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (12/2006) 48 pp 13 col. ill. 9 x 8 in softcover 978-1894-90627-2 $15.00 Can./U.S. (12 €)

Emily Falvey

Six artists explore the nexus of order and ornament in the expanded social space of North American culture. Through a wide variety of media and approaches they explore issues such as consumerism, gender, race, disease and the fundamental structures, both social and physical, that shape our daily lives. Artists include Anne Thibault, Laura Margita and Shelley Miller. In English and French.

Kosmos présente le travail de six artistes contemporains qui explorent le rapport entre ordre et ornement dans la culture nord-américaine. À travers une vaste gamme d'approches et de matériaux, ils abordent plusieurs grandes questions, telles : la surconsommation, les rapports entre les sexes et les peuples, et les diverses structures tant sociales que physiques qui façonnent nos vies quotidiennes. Parmi les artistes : Annie Thibault, Laura Margita et Shelley Miller. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (02/2006) 68 pp col. ill. 10 x 8 in hardcover 1-894906-25-X $20.00 Can./U.S. (16 €)

Eric Walker: Railway Lands / Eric Walker: Territoires ferroviaires
Emily Falvey & Aoife Mac Namara

Eric Walker meticulously assembles painted constructions from found objects, discarded building materials, paint, aluminum sheeting and thousands of box-nails. Bridging the gap between Nova Scotia conceptual art and vernacular forms from the Maritime region, his work embodies a complex mixture of modernist idioms, reverence for regional history and folklore, and a post-modern obsession with process. In English and French.

Eric Walker assemble de méticuleuses constructions peintes d'objets trouvés. Faisant le lien entre le conceptualisme néo-écossais et les formes d'art vernaculaire de la région des Maritimes, son travail réunit un mélange complexe d'idiomes modernistes et rend hommage à l'histoire régionale et au folklore, tout en illustrant une obsession post-moderniste du procédé. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (12/2005) 48 pp. 18 ill. (18 col.) 6 x 10 in softcover 1-894906-22-5 $15.00 Can./U.S. (12 €)

Weathervane / L'aire du temps
Karen Love & Elizabeth May

As environmental extremes become commonplace, this publication weighs in on the theme of climate change with works by 12 artists who measure political, social and phenomenological effects of weather on contemporary life. Love's essay walks us through the wide range of artistic disciplines, strategies and motivations. Elizabeth May, a member of the Sierra Club, provides hard evidence of the reasons for climactic change as well as some practical solutions. Among the artists: Marlene Creates, Paterson Ewen, Rodney Graham and Mark Lewis. In English and French.

L'air du temps propose d'examiner comment des artistes contemporains réfléchissent au climat et s'en servent pour représenter l'idée de lieu et de la condition humaine. La publication nous présente les visions de 12 artistes quant aux préoccupations environnementales, politiques, psychologiques et sociales qui découlent du climat. L'essai de Karen Love nous présente la gamme des disciplines, motivations et pratiques artistiques, tandis qu'Elizabeth May nous propose des raisons pour les changements climatiques, ainsi que quelques solutions simples et pratiques. Parmi les artistes : Marlene Creates, Paterson Ewen, Rodney Graham et Mark Lewis. En français et anglais.

Ottawa Art Gallery/Oakville Galleries (09/2005) 96 pp 24 ill (20 col) 9 x 6.5 in 1-894906-24-1 hardcover $25.00 Can./U.S. (20 €)

Max Dean
Renee Baert & Michelle Hirschhorn

The first significant publication on an artist whose work extends from performance in the late 1970s to today's acclaimed robotic projects. It is precisely this grounding in performance that distinguishes Dean's interactive installations because, even though his work employs complex technology, his motivation is a desire to communicate in a direct and meaningful way. This publication marks two events: the inaugural presentation of BE ME, an interactive video installation in which Dean has adapted and extended leading-edge animation software, and an international symposium entitled Interactivity in New Media Art, organized in conjunction with this exhibition and held at the National Gallery of Canada. Max Dean has exhibited nationally and internationally, notably at Kunsthalle Düsseldorf and ZKM Center for Art and Media, both in Germany, as well as at the Venice Biennale. He lives and works in Toronto. In English and French.

Première publication d'importance sur l'oeuvre de Max Dean dont les racines se retrouvent dans la performance, durant les années 1970, et se rendent aujourd'hui jusqu'à de divers projets de robotique. C'est d'ailleurs cette base en performance qui distingue les installations interactives de Dean. En effet, même s'il utilise des technologies complexes, il en demeure qu'il choisit des formes interactives afin de pouvoir satisfaire son désir de communiquer directement, effectivement et sérieusement. Cette publication signale aussi deux évènements : l'inaugurale d'une installation vidéo interactive pour laquelle Dean a adapté et prolongé un logiciel d'animation, et le symposium international, L'interactivité et les art médiatiques, organisé en collaboration avec cette exposition et présentée au Musée des beaux-arts du Canada. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2005) 78 pp 26 col. ill. 10 x 8 in 1-894906-16-0 $25.00 Can./U.S. (20 €)

Dead Nature / La vie immobile
Emily Falvey

Three artists of diverse disciplines and media reinvent the most traditional of art genres, still life. Through photography, video and performance each metaphorically and symbolically communicates ideas of mortality, vanity and the transience of existence. Falvey's essay ranges broadly through the complex history of the genre. With Rachel Echenberg, Louis Joncas and Kelly Mark. In English and French.

Trois artistes provenant de disciplines diverses réinventent la forme artistique la plus traditionnelle : la nature morte. À travers la photographie, la vidéo et la performance, les artistes communiquent métaphoriquement et symboliquement des idées de mortalité, vanité et du passage de l'existence. L'essai de Falvey parcourt librement l'histoire complexe de la nature morte. Avec des oeuvres de Rachel Echenberg, Louis Joncas et Kelly Mark. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2005) 60 pp 17 col. ill. 7 x 5 in 1-894906-18-7 $15.00 Can./U.S. (12 €)

The Bigger Picture: Portraits from Ottawa / Les mille et un visages d'Ottawa
Karen Love

Working from portraiture - both contemporary and historical - as well as archival photographs, the author traces the social history of Ottawa as a city and as the nation's capital. In doing so she provokes questions about how we have understood the notion of portraiture over the past past 50 years. Donigan Cumming, Evergon, Germaine Koh, Ken Lum and Jeffrey Thomas and even Pierre Elliot Trudeau are just a few of the photographers discussed. In English and French.

Cette publication suscite un questionnement sur notre compréhension du concept du portrait en réunisant une sélection d'œuvres produites depuis 50 ans. Les intentions artistiques visent, notamment, la représentation physique exacte ou une ressemblance éloquente du modèle, ses rapports sociopolitiques, les frontières entre l'archétype et la singularité, entre la théâtralité et l'intimité. Avec, entre autre, les œuvres de Donigan Cumming, Evergon Jeffrey Thomas et Pierre Elliot Trudeau. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2004) 72 pp 56 ill. (17 col.) 9.5 x 6.5 in softcover 1-894906-17-9 $25.00 (16 €)

Katherine Knight: Wind and Water
Cheryl Sourkes

Award winning photographer Katherine Knight captures natural landscapes of Central and Eastern Canada in intimate portraits. These geographic settings are combined with notions of memory and narrative, achieved either through direct intervention, as in her exploration of the force of wind and its effect on secondary objects, or through spontaneously captured moments. Rejecting the tradition of grand panoramic scenes, Knight gives voice to specific forms and vantages, encompassing space in intimate ways in a more anti-heroic, proto-feminist tradition. Her vision strikes a balance between a persevering life force and the threat of death from the ineluctable power of natural forces. In English and French.

The Ottawa Art Gallery (2004) 56 pp. 65 ill. 8 x 8 in softcover 1-894906-13-6 $15.00 (12 €)

Sylvain Cousineau : Coq-à-l'âne
François Dion

Cette publication regroupe des oeuvres récentes et jamais vues ainsi que des photographies datant de la fin des années 1960 à la fin des années 1980. Les photographies de Cousineau reprennent certains idiomes de la tradition documentaire, mais elles insistent surtout sur ce qui est déjà autre chose et elles laissent entrevoir l'instabilité des certitudes. En français et anglais.

Cousineau's photographs interpret a place between the subjective experience of the image and its objective reality. Though he is known for his assemblages and paintings, this publication derives from the first retrospective exhibition of Cousineau's photographic work dating from as early as 1969. His photographs contain ironic contradictory references and semantic play, ranging from urban theatrical montages to regional portraits of text and image. In English and French.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2004) 40 pp 28 ill. 8.25 x 10 in 1-894906-08-X $12.00 Can./U.S. (10 €)

Full Space: Modern Art from the Firestone Collection of Canadian Art /
Plein espace : L'art moderne de la Collection Firestone d'art canadien

Gemey Kelly, Emily Falvey & Esther Trépanier

Publication of the first traveling exhibition of one of the country's largest private collections of modern Canadian art, now under the care of the Gallery. Two essays explore the eclecticism of the painting of the 1930s through the 1950s when artists turned their attention away from the representation of landscape to focus on urban and social issues with a spatial and personal subjectivity. With work by Jack Shadbolt, Molly Lamb Bobak, Marian Dale Scott and many more. In English and French.

Première publication dédiée à l'exposition itinérante de la Collection Firestone. Plein espace présente des peintures réalisées au Canada à partir des années 30, époque où l'on se déplaçait du paysagisme vers des thèmes urbains, architecturaux, sociaux ainsi que vers des paradigmes modernes de l'espace. Deux essais explorent l'éclectisme de la peinture et du dessin des années 30 à 50 alors que les artistes commençaienst à mettre l'accent sur la relativité spaciale, le sentiment, le mouvement et le processus subjectif. Avec des oeuvres de Jack Shadbolt, Paul-Émile Borduas, Jean-Paul Riopelle et plusieurs autres. En français et en anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa(2004) 94 pp 28 ill. (20 col.) 8.5 x 7 in / 18 x 22 cm softcover 1-894906-05-5 $20.00 (16 €)

Vera Greenwood : High Ground
Sylvie Fortin, Johanna Mizgala & Jeanne Randolph

Greenwood enlists memory and fiction, as well as humour and horror, to immerse viewers in the home and family environment in which she grew up. Acting as the curator of her own personal museum, she meticulously re-stages her childhood home and poignantly evokes her memories of growing up in a family whose fortune were greatly affected by her father's mental illness. Three essays probe, among much else, the artist's anti-authoritarian critique of the family, the church and the museum. Randolph is the author of Why Stoics Box.

Greenwood a recruté mémoire et fiction afin d'immerser le spectateur dans l'environnement familial au sein duquel elle a grandit. S'attribuant le rôle de conservatrice de son propre musée personnel, elle a méticuleusement recréé son enfance et évoqué les mémoires entourant sa famille, dont le bien-être dépendait fortement des troubles mentaux de son père. Trois essais cherchent à éclaircir le positionnement anti-autoritaire de l'artiste face à l'institution familiale ainsi qu'à toute autre institution, même celle du musée.

La Galerie d'art d'Ottawa / Southern Alberta Art Gallery (2003) 97pp. 16 ill. coul. 22 x 14 cm 1-895108-56-x $25.00 (21 €)

Catherine Richards: Excitable Tissues / Tissus excitables
Frances Dyson, N. Katherine Hayles & Dot Tuer

Catherine Richard's practice as a new media artist is rooted in the investigation of the body within the promise and the threat of new technology. Through a rigorous application of the classical elements of scientific investigation, such as observable phenomena and experimental proof, her patented inventions explore the memories and subjectivity of the viewer. Richard's most recent interactive installations, unique quasi-objects that draw on both Renaissance curiosity cabinets and virtual reality environments, were the subject of a symposium whose presentations are printed here for the first time. Catherine Richards is the recipient of the Canada Council's Media Arts Award as well as a fellowship from the National Research Council of Canada. Frances Dyson teaches at the University of California, Davis, and has recently published with Princeton Architectural Press. N. Katherine Hayles teaches at the University of California, Los Angeles, and is the author of numerous publications on the relationship between new and old media. Dot Tuer is one of Canada's most respected art theorists. She teaches at the Ontario College of Art and Design. In English and French.

Dans sa pratique d'artiste en nouveaux médias, Catherine Richards opère comme anthropologue symétrique et établie, au sein du processus artistique, une médiation entre faits scientifiques indiscutables et sujets de droit entre science et société. Dans son travail, les éléments classiques du laboratoire scientifique sont présents - phénomènes observables, preuves expérimentales, éprouvettes, ... Mais sont également présents les souvenirs et les subjectivités, inscrits dans l'interaction du spectateur avec les "quasi-objets" qu'elle a façonnés en parcourant un horizon historique de la Renaissance au rococo jusqu'aux environnements virtuels de nos jours. Richards est récipiendaire du prix en arts médiatiques décerné par le Conseil des Arts du Canada ainsi que d'une bourse du programme d'Artistes en résidence co-établi par le Conseil des Arts du Canada et le Conseil national de recherches du Canada. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2003) 114 pp 38 ill (8 coul) 28x21 cm hardcover / couverture rigide 1895108756 $30.00 (21 €)

Reflections: The Self-Portraits of Gerald Trottier
Réflexions : Les autoportraits de Gérald Trottier

Brenda Wallace

Over a period of more than fifty years, Gerald Trottier has studied his reflection in a mirror, endeavouring to capture the essence of his being. While only a small of his vast overall production, these paintings convey a sense of both detachment and sensuality through the use of muted colours and opalescent tones. An attention to surface texture and architectural composition gives these invariably three-quarter renderings a feel reminiscent of the Flemish masters. Wallace's essay situates Trottier within the development of key artists' organizations from the 1960s on. Gerald Trottier has designed stamps for Canada Post, covers for Canadian Art magazine, and many public murals. In English and French.

Durant plus de 50 ans, Gérald Trottier a sondé son image spéculaire dans une tentative de saisir l'essence de son être dans une quarantaine d'autoportraits. À 27 ans, il réalise un petit pastel, le premier de cette riche et complexe série d'autoportraits et un sujet qui le fascinera sa carrière durant. Gérald Trottier vit et travaille à l'île-du-Grand-Calumet au Québec. Il a conçu des timbres de Postes Canada, des pages couvertures du magazine Canadian Art et de nombreuses murales publiques. Ses œuvres ont fait l'objet d'expositions à l'étranger et se trouvent dans de nombreuses collections publiques et privées. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2002) 45 pages, 6 ill. coul. 9x6.5 in. 1895108802 $20.00

Ottawa On Display / Ottawa : Mise en scène
Melissa Rombout

Ottawa presented, not only a centre of life and economy for its citizens, but also the centre stage for nationhood. Historical and contemporary images, documents and artifacts, dating from 1657 to the present, suggest how we are positioned as spectators of the national stage, not only as moving bodies in the street, but as consumers of maps, prints, printed guides and pamphlets, tourist souvenirs, photographs and films. These images constitute an accumulated image body, a kind of emblem book of Ottawa icons, revealing and determining the visitors expectation of the capital. Features a curatorial essay and interviews with Marion Dewar, Chantal Hébert, John Ramlochand and John Ralston Saul. In English & French

Ottawa : Mise en scène considère l'émergence d'Ottawa comme scène centrale de l'identité nationale. Les images historiques et contemporaines, des documents et artéfacts, datant de 1657 à non jours, nous invitent à considérer notre position en tant que spectateurs de la scène nationale, comme consommateurs de cartes, d'estampes, de guides et de dépliants, de souvenirs touristiques, de photographies et de films. Rassemblées, ces images constituent un corps iconographique, une sorte d'album emblématique des icônes d'Ottawa qui, à la fois, révèlent et déterminent les attentes des visiteurs de la capitale. Comprenant un essai et des entretiens avec Marion Dewar, Chantal Hébert, John Ramlochand et John Ralston Saul. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2003) 148 pages ill. 8x8 in / 20x 20 cm 1895108667 $30.00

Chantal Dahan. The Dahan Bunch: Perdus dans l'espace
Sylvie Fortin & Claude Lacroix

Welcome to the ficto-biographical modular universe in which Hull, Quebec artist Chantal Dahan carefully combines space, objects, sound and images of various types (photographic, cinematographic, and videographic) to explore her bicultural, binational, bireligious, multilingual identity. Her universe is the family; her modules are "portraits" of family members, coloured by fiction and abstracted to act their scripted part in an installation where proximity and distancing are enlisted to tell stories of origins, migration, trajectory and identity. In English and French.

Bienvenue à l'univers modulaire biographico-fictif dans lequel l'artiste Chantal Dahan conugue soigneusement espace, objets, sons et images de types divers (photographiques, cinématographiques, et videographiques) pour explorer son identité biculturelle, binationale, bireligieuse et multilingue. Son univers est celui de la famille, ses modules sont des « portraits » des membres de sa famille, colorés par la fiction et stylisés pour jouer leur rôle scénarisé dans une installation où proximité et distance sont mobilisés pour raconter des histoires d'origines, de déplacements, de trajectoires et d'identités. En français et anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2001) 44 pages ill. 6x5 in /15 x10 cm 1895108780 $15.00

Juan Geuer. Al Asnaam: The People Participating Seismometer
Jean-François Renaud

This publication concentrates on his seminal installation. The movement of a beam of red light emitted by a laser across the exhibition space walls, reflected by the gentle swinging of mirrors and a chrome-plated cylinder, registers disturbances caused by the viewer's presence and by motions of unknown &endash; presumably microseismic &endash; origin. In Englisn & French.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2001) 24 pages col. ill. 9x6 in.1895108-837 $5.00

Ron Noganosh: It Takes Time
Tom Hill & Lucy R. Lippard

Noganosh's found objects, sculptures and installations speak of the difficult and manifold issues faced by contemporary native communities: environment, natural resources, territory, culture, language, poverty and self-governance. Central to his work is the knowledge that these concerns are shared by communities in other countries and cultures. While maintaining that humour has been a mainstay of his production, Hill describes Noganosh's twenty year practice as "increasingly morose"; a constant articulation that death is an integral aspect of everyday life of a First Nations person. American cultural critic Lippard writes about the unique contribution Noganosh and other Native artists have made to the genre of found objects and assemblages, bringing a particular meaning and memory to things that have been used and discarded. She explores how, like so many of his aboriginal Canadian and American colleagues, Noganosh works in a decentralized realm where humour, irony and land-based passion frame the issues. The artist contributes a stark and moving introduction. Born on the Magnetawan Reserve on Georgian Bay, Ron Noganosh lives and works in Ottawa. Co-published with the Woodland Cultural Centre. In English and French.

It Takes Time est la première exposition qui pose un regard analytique et critique sur l'évolution d'une pratique artistique depuis vingt ans. Le travail de Ron Noganosh aborde les multiples enjeux auxquels font face les communautés autochtones : environnement, ressources naturelles, territoire, culture, langue et autonomie. Son emploi d'objets trouvés dans les assemblages et des installations est particulier car les niveaux implicites de sens, d'histoire et de mémoire imbriqués dans les objets rejetés possèdent une signification spéciale pour une peuple qui ont subi que leur part de traitement similaire. Co-édité avec le Woodland Cultural Centre. En Français et Anglais.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2001) 80 pages 21 ill. (14 col.) 9x6 in / 23x17 cm. 1895108659 hardcover / couverture rigide $25.00

Keith Piper & Ramona Ramlochand: The Night Has a Thousand Eyes / Les mille regards de la nuit
Sylvie Fortin & Cameron Bailey

A collaborative multimedia installation meant to address the changing notion of the self as determined by surveillance technologies and the digitalization of the world. Through an intricate play of projections, Ramlochand reveals the interconnection of here and there, now and then. Piper weaves a elaborate network of images and language into a work which compares the development of the postmodern city to the confusion of the biblical city of Babel. Sylvie Fortin & Cameron Bailey.

Une installation multimédia collaborative adressant la notion de soi telle que déterminée par les technologies de surveillance et la digitalisation du monde. Ramlochand expose les interconnections entre l'ici et là, le présent et le passé par un jeu de projections complexe. Pour sa part, Piper brode un réseau d'images et de langages sophistiqué en une oeuvre comparative du développement de la ville post-moderne à la ville biblique de Babel.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa. (Summer / Eté 2000) 88 p., ill., 10x7 in / 25x18 cm, 189510842x $25.00

Susan Feindel: Figura
Petra Halkes, Neil Evernden

Figura, is a selection of works from 1984 to the present, and includes paintings, an in situ installation, a film installation and a sketchbook resulting from a trip to the Arctic. These particular works have been selected for the intensity with which they reflect Feindel's concern with the human/nature dichotomy.

Figura est une sélection d'oeuvres datant de 1984 à aujourd'hui incluant des peintures, une installation in situ, une installation de films ainsi qu'un cahier de croquis inspiré d'un voyage en Arctique. Ces oeuvres ont été sélectionnées particulièrement pour leur intensité reflétant les craintes de Feindel quant à la dichotomie de la nature et de l'humanité.

The Ottawa Art Gallery / La Galerie d'art d'Ottawa. (1999) 7.5x6 in / 19x15 cm, 12 ill. (9 col.), 1895108519 $20.00

Caroline Langill: Custody of the Eyes
La modestie des yeux.

Kathleen Garay.

In response to Langill's installation inspired by Saint Theresa of Avilla, Garay presents a history of medieval women mystics.

En réponse à l'installation de Langill s'inspirant de la vie de sainte Thérèse d'Avila, Garay retrace l'histoire des femmes mystiques du Moyen Age.

The Ottawa Art Gallery/ La Galerie d'art d'Ottawa (1996) 41 p., ill., 7x5.5 in / 18x13 cm, 1895108225 $8.00

Evergon: Egon Brut, Celluloso Evergonni, Eve R. Gonzales: Ramboys. A Bookless Novel and Other Fictions.
J-F Renaud et al

Four essays analyze the baroque character, the mythic nature and the homoeroticism of the photographer's work.

Quatre textes analysent le caractère baroque, la nature mythique, et la charge homoérotique de l'oeuvre du photographe.

The Ottawa Art Gallery/ La Galerie d'art d'Ottawa (1995) 153 p., ill., 7x4.5 in / 18x12 cm, 1895108209 $20.00

Lance Belanger
Lance Belanger, Lucy R. Lippard

The Native artist outlines the similarities between Canadian Indians and Gypsies while Lippard contextualizes Belanger's political and artmaking practices.

L'artiste autochtone commente les multiples ressemblances entre Amérindiens du Canada et Tziganes. Lippard contextualise l'action politique et la pratique de l'artiste.

The Ottawa Art Gallery/ La Galerie d'art d'Ottawa (1995) 73 p., ill., 10x7 in / 26x18 cm, 1895108217 $20.00

Carla Whiteside: Consensus/Exil
Susan Douglas, Jean-François Renaud

Renaud interviews the artist on the nature of the relationships implicit in her installations while Douglas explores the connection between language and landscape.

Renaud interviewe l'artiste quant à la nature des relations mises en oeuvre dans ses installations et Douglas explore les liens qui existent entre langage et paysage.

The Ottawa Art Gallery/ La Galerie d'art d'Ottawa (1995) 105 p., ill., 7.5x5.5 in / 19x14 cm, 1895108187 $20.00

Richard Gorman: Pure Painting
Liz Wylie, Blair Sharpe

Each period of Gorman's career is represented and discussed, from early experiments in Toronto, through his mid-career practice in Ottawa, to the recent work completed in Toronto in the 1990s. The essays provide an invaluable context for the evaluation and appreciation of Gorman's oeuvre.

The Ottawa Art Gallery/ La Galerie d'art d'Ottawa (1996) 85 p., col. ill., 8x8 in / 20x20cm, 1895108276 (English/French) $20.00

Suzanne Rivard Le Moyne: Survol
Anne Bénichou, Diane Génier

The Ottawa Art Gallery/ La Galerie d'art d'Ottawa (1996) 53 p., 6x9 in / 16x23 cm, col. ill., 1895108268 (English/Français) $15.00

Claude-Philippe Benoit: Chapitre O-nu
Marie Perrault.

The Ottawa Art Gallery/ La Galerie d'art d'Ottawa (1994) 48 p., ill., 9.5x8 in / 24x20 cm, 1895108179 (English/Français)$15.00

Juan Geuer: Investigating Chaos
J-F Renaud et al

The Ottawa Art Gallery/ La Galerie d'art d'Ottawa (1994) 79 p., ill., 11x8 in / 28x20 cm, 189510811x (English/Français) $20.00

Toby MacLennan: How will I know I'm here
Toby MacLennan, Jean-François Renaud

Ottawa Art Gallery/Galerie d'art d'Ottawa (1993) 30 p, ill., 8x4 in / 21x10 cm, 1895108144 (English/Français) $15.00

Marie-Jeanne Musiol: Du noir, une impulsion lumineuse
Marie-Jeanne Musiol, Pascale Beaudet

Ottawa Art Gallery/Galerie d'art d'Ottawa (1993) 47 p., ill., 8x12 in / 20x30 cm, (English/Français) 1895108101 $15.00

Trevor Gould: Inventing a Homeland
Philip Fry, Louis Cummings

Ottawa Art Gallery/Galerie d'art d'Ottawa (1993) 94 p., ill., 9x11 in / 22x28 cm, 1895108098 (English/Français) $12.00