Shary Boyle and Emily Vey Duke: The Illuminations Project
Shary Boyle and Emily Vey Duke
With an Introduction by Jon Davies
The Illuminations Project is a decade-long collaboration between two artists, feminists and friends. Shary Boyle and Emily Vey Duke's visionary call-and-response artwork forges connections between drawing and writing to create an exquisitely rendered road map through the chaos of growing up female, fearless and hungry for meaning. Looking for an alternative to the convention in which images illustrate texts and texts explicate images, the artists developed a more associative method of combining words and pictures based upon a long-distance correspondence between 2003 and 2010. Half of Boyle’s drawings were developed in response to Duke’s poems, and vice versa. In both cases, the responding artist used the other’s work as a point of departure rather than a directive. Printed in its entirety, The Illuminations Project assumes an epic structure, embracing free-form ideas as readily as the drive for narrative momentum. The project loosely charts the journey of a character named Bloodie, a young girl who travels across fantastical lands populated by all manner of creature - human, animal and otherwise. Drawing on philosophy, religion and myths alike, the tale that unfolds speaks potently to the freedoms and dangers of the wild, the nature of power and desire, and the brutalities of contemporary life. Shary Boyle works across diverse media, including ceramics, sculpture, painting, installation and drawing. Her work has been widely exhibited at, most notably, the Institute of Contemporary Art Philadelphia, University of California San Diego, ICA Boston and the National Gallery of Canada. Shary Boyle represented Canada at the 55th Venice Biennial. Emily Vey Duke has been working collaboratively with Cooper Battersby since1994. In 2010 they were awarded the Ken Burns Award for the Best of Festival at the Ann Arbor Film Festival and short-listed for the Sobey Art Award. Emily Vey Duke teaches at the College of Visual & Performing Arts, Syracuse University, New York.The Illuminations Project was shown for the first time in 2011 at the Institute of Contemporary Art at the University of Pennsylvania.
* Previously announced, available now for the first time.
Oakville Galleries (04/2016) 96 pp 40 col. ill. 12.25 x 10.25 in hardcover 9781894707367 $30.00 Can. $35.00 U.S.
Marla Hlady: Rooms and Walls
Marnie Fleming, Martin Arnold and John Massier
The multidisciplinary practice of Toronto-based artist Marla Hlady is characterized by playful explorations into the mechanics and expressive possibilities of structure and sound. This publication documents new work inspired by the acoustic nature of the gallery itself which was once a private residence. By constructing three-dimensional scale models of each room in the building, Hlady provides visible analogies for the gallery’s architecture that also serve as “sound objects,” emitting recordings of each space’s unique tones. Published with Hallwalls Contemporary Art Center, Buffallo New York.
Oakville Galleries (01/2013) 80 pp 40 col. ill. 8 x 5 in softcover 978-1-894707-35-0 $18.00 Can. $20.00 U.S.
Silent As Glue: Lynda Gammon, Matt Harle, Elspeth Pratt
Micah Lexier & Kathleen Ritter
Publication devoted to he materially rich work of Lynda Gammon (Victoria BC), Matt Harle (Beacon NY) and Elspeth Pratt (Vancouver BC). These artists' sculptures – comprised of a variety of materials including concrete, fabric, cardboard, photographs, paint, tape, plastic, foam, vinyl, and metal – forego common usage of materials to question ideas of value and permanence associated with traditional sculpture, while at the same time negotiating the line between abstraction and representation.
Oakville Galleries (06/2010) 64 pp 64 pp col. ill. 9 x 7 in hardcover 978-1-894707-33-6 $25.00 Can. $28.95 U.S.
People Like Us: The Gossip of Colin Campbell
Jon Davies & John Greyson
In a career beginning in the 1970s, Colin Campbell (1942 - 2001) was at the forefront of artists' video and, for thirty years, continued to invent a unique and personal form and content for the medium. Campbell responded early to video's invitation to performance and to its ease with sharing secrets. This retrospective exhibition considers the manner in which the artist cultivated a myth around himself and his personae through trafficking in stories, rumours and fables as culled from the goings-on of his everyday life. In blurring truth and lies, real life and artifice, Campbell's video works suggest links between storytelling, self-construction and star power. Colin Campbell represented Canada at the Venice Biennale in 1980 and at biennial exhibitions in São Paulo in 1977 and Istanbul in 1992. Published on the occasion of a symposium dedicated to the legacy of Colin Campbell. Luminous Bodies At Nightfall: Gender and Performance is sponsored by the University of Toronto (January 2009).
Oakville Galleries (12/2008) 64 pp col. ill. 11 x 7.5 in softcover 978-1-894707-28-2 $25.00 Can. $27.95 U.S
Gareth Long is a conceptual artist who explores the infinitely reproducibile nature of video. By playing with translation, narrative and medium-specificity, his projects result in pieces far-removed from their source, often barely resembling the original in their new, compromised object-form. As a former student of video-pioneer Colin Campbell, Long and his work are a testament to Campbell's ongoing influence. Gareth Long has exhibited widely, most notably at the Musée d’art contemporain de Montréal. His bookwork, Don Quixote, was recently purchased by the Museum of Modern Art Library.
Gareth Long: Second, Third, Fourth
A A Bronson, Liam Gillick & Alissa Firth-Eagland
Oakville Galleries (12/2008) 95 pp col. ill. 8 x 6 in softcover 978-1-894707-27-5 $20.00 Can
T&T: Onward Future (Out of Print)
Oakville Galleries (02/2008)
80 pp 68 col. ill. 10.5 x 9 in hardcover 978-1-894707-26-8 $30.00
Burrow / Terrier: Janice Kerbel, Adriana Kuiper, Liz Magor, Samuel Roy-Bois
Publication of a group exhibition dealing with the way we use architecture to isolate ourselves. Liz Magor's structures meditate on refuge in the woods; Samuel Roy-Bois breaks down high-rise apartment buildings; Janice Kerbel's buildings range in their architectural references; and Adriana Kuiper revisits the fallout shelter. The author explores the contradictions that mark contemporary existence: the desire for security and boundaries and the consequent danger of solitude and paranoia. Fittingly, the essay is presented as a separate pamphlet sewn within the binding of the publication. In English and French.
Publication d'une exposition de groupe qui rassemble des uvres traitant de la notion de l'abri comme un espace protecteur qui engendre l'isolement et la dislocation. Quatre artistes examinent la notion du foyer en regard de notre obsession actuelle pour la sécurité de la patrie et des quartiers privés. Avec la participation de Janice Kerbel, Adriana Kuiper, Liz Magor et Samuel Roy-Bois. En français et anglais.
Oakville Galleries / Musée d'art de Joiliette (03/2007)
35 pp (plus enclosed pamphlet 16 pp) 12 col. ill. softcover ISBN: 978-1-894707-25-1 $30.00 Can./U.S.
Inhabiting: The Works of Isabelle Hayeur / Habiter : Les uvres d'Isabelle Hayeur
Each photographic work by Isabelle Hayeur incorporates several images, using software to form an apparently seamless representation. Through her choice of images and themes, Hayeur expresses an anxiety about the way humanity has come to occupy the natural territory. The representation not only of a site but of what has happened to it turns her work into something akin to history painting. A history painting that expresses a moral judgment on the rapid degradation of the natural world while also making an acerbic comment on the residential folly that has led to the exponential growth of the suburbs. Isabelle Hayeur has exhibited, most notably, at Mass MoCA and Musée d'art contemporain de Montréal. Co-published with the Musée national des beaux-arts du Québec. In English and French.
En utilisant différents logiciels afin d'obtenir une représentation sans faille, les uvres photographiques d'Isabelle Hayeur nous présentent réellement plusieurs images à la fois. La douceur avec laquelle elle intègre des perspectives et des échelles différentes est telle qu'il nous faut un moment afin de réaliser que ce qui nous est présenté est une construction artificielle élaborée, et non un paysage naturel. À travers ses choix d'images et de paysages, Hayeur exprime son anxiété face à l'occupation humaine du territoire naturel. Isabelle Hayeur a exposé, notamment, au Musée d'art contemporain de Montréal. Co-publication avec le Musée national des beaux-arts du Québec. En français et anglais.
Oakville Galleries (07/2006) 48 pp 16 col. ill. 11.5 x 10.5 in Hardcover ISBN: 1-894707-24-9 $35.00
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
Janet Hodgson: Here and There Then and Now
Marnie Fleming & Emma Rushton
Working from the fact that the gallery building was modelled on plans similar to those designed for a home for H. G. Wells, Hodgson views the arts and crafts style homes in multiple ways and, like Wells, lays bare ideas around class and society.
Oakville Galleries (2005) 5 x 4 in 64 pp col. ill. 1-894707-22-2 $15.00 Can/U.S. (12 euros)
Eric Glavin: Radiant City
Luis Jacob & Beth Seaton
Glavin's work explores mid-twentieth century architecture, particularly the commercialized urban environment. His computer-generated images look closely at social housing, schools and high-rises, objects that have helped shape the socio-economic infrastructure of the industrial city.
Oakville Galleries (2005) 44 pp col. ill. 4 x 11 in spiralbound 1-894707-23-0 $20.00 Can./U.S.
Paulette Philips : The Secret Life of Criminals / Clues and Curiosities
Kathleen Pirrie Adams & Gordon Hatt
Phillips' film and video installations are uniquely provocative and intriguing. Each has involved a particular historical event that has bolstered her interests in emotional states of being and narrative construction. Her work circles obsessively around themes of social history, forensics, psychology and science.
Oakville Galleries (2004) 63 pp col. ill. 6.5 x 5 in softcover 1-894707-20-6 $15.00 Can./U.S.
Su Ditta & Sara Diamond
David Rokeby is at the forefront of artists shaping the future of new media arts. By using the computer in ways that are innovative and engaged he has produced an internationally acclaimed body of work that explores issues of vision, meaning, archiving and memory. Two essays accompany a presentation of Rokeby's major works from the early 1990s to today. A CD Rom contains excerpts from 9 works, including Seen, Rokeby's contribution to the Venice Biennlal 2001, 8th International Architecture exhibition. Rokeby will represent Canada at the XXVI São Paulo Bienal in the Fall of 2004.
Oakville Galleries (2004) 88 pp 33 col. ill. 10 x 6.5 in. hardcover 1-89470721-4 $40.00 Can./U.S. (31 euros)
John Greyson & David Wall: Fig Trees, A Video Opera
Working from Gertrude Stein and Virgil Thomson's radical and rarely mounted 1928 opera Four Saints in Three Acts, filmmaker John Greyson and composer David Wall created an entirely new series of video installations, with Greyson providing the visuals and Wall the music. Their creation pushes at the limits traditionally imposed on operatic content and opens up the form of storytelling to create a critical and active experience. Their subject is AIDS and South Africa, the central figure a Black South African AIDS activist who refuses treatment until treatment is available for all. This is an opera that both questions and demonstrates the troubled relationship between an elite art form and political activism. Greyson's imagery, accompanied by Wall's complex rhythms, creates a remarkable flow of invention that, while dark and melancholic, contains delightful moments of dalliance and humour. The overall effect is mesmerizing and uplifting and meant to move an audience. Accompanied by an audio CD of Wall's music.
Oakville Galleries (2003)200 pp col. ill. 5.5 x 5 in. hardcover with audio CD1-894707-19-2 $40.00 Can./U.S. (32 euros)
Rachel Harrison : Brides and Bases
Ben Portis & Margaret Sundell
Over the past decade the Brooklyn-based artist has developed a singular practice intermixing sculptural and photographic techniques in expansive installations that address exhibition space. The tenuously reconciled functions of the surrounding gardens at Oakville Galleries in Gairloch Gardens, as a site for photography and sculpture inspired Brides and Bases. Harrison uses the oblique vantage of the artist to follow the direct dealings of wedding photographers with their parties.
Oakville Galleries (2003) 40 pp col. ill. 7x5 in softcover 1-894707-11-7 $20.00 Can./U.S. (14 euros)
Jeremy Borsos: Then Again
Marnie Fleming & John O'Brien
British Columbia-based Borsos explores history and memory in a novel way. Working with postcards dating from as far back as the 1870s, he traced the addresses on the cards to their current embodiments. He then photographed the sites, assembling and displaying the photographs with the original envelopes. Two essays reflect on the juxtapositions and their personal and historical significance.
Oakville Galleries (2003) 32 pp 8 col. ill. 9.5x6.5 in softcover 1894707168 $12.00
Revealing the Subject
An overview of the galleries' permanent collections through portraiture. By looking at work produced since the late 1970s by such artists as Ian Carr-Harris, Marlene Creates, Angela Grauerholz and Attila Richard Lukacs, Anderson follows many threads, including the radical shifts in technology and the fracturing of the concept of identity.
Oakville Galleries (2003) 60 pp 19 col. ill. 9.5x6.5 in softcover 189470715x $15.00
Roy Arden: Selected Works 1985 - 2000
Marnie Fleming and Shep Steiner
Long admired for his activist stance, Arden's unrelenting depiction of the rapidity of economic change in British Columbia and its human costs (what he calls "The Landscape of Economy") has fostered an international reputation in both artistic and environmentalist circles. As Fleming notes, Arden's practice is ".. a case study on the way in which the reality of one's backyard can be a valid laboratory or art-making; one that has global resonance, while based in the realm of lived experience." But as Fleming and Steiner amply show, Arden is not a photo-journalist. His genius reveals itself through the way he takes the documentary tradition and imbues it with fiction, poetry and drama. His pictures embody otherwise contradictory concepts of the literal and the figural, the political and the poetic, and the ethical and the aesthetic. Pictures like Pulp Mill Dump, Nanaimo B.C. are reminiscent of Robert Smithson and Landfill B.C. invokes the wastelands of Antonioni and Robert Adams. "Through this work I have sought to explore and articulate a realism which is informed by my understanding of tradition. I have drawn on artists as diverse as Dürer, Kobke, Atget, Walker Evans, Robert Smithson and Pasolini," Roy Arden.
Oakville Galleries (2002) 48 pages, 15 ill. (10 col.) 9x10 in. hardcover 1894707079 $35.00 Can. / $29.00 U.S.
Shui-Bo Wang: Sunrise Over Tiananmen Square
Marnie Fleming, John Fraser & Maureen Furniss
In the wake of the excitement over Shui-Bo Wang's 1998 Academy Award nomination for best short documentary film, this publication examines Sunrise Over Tiananmen Square, the film that earned the Montreal-based artist this honour. In addition to images from the film, we are presented with a selection of the still imagery that comprises the kinestatically-animated documentary. These images include both family and archival photographs, but are largely comprised of Shui-Bo's politically charged drawings.The film candidly traces the coming of age in China during the Cultural Revolution of the 1970s and 1980s. Shui-Bo takes us on a journey from his childhood, under his beloved Chairman Mao, to his days as a propaganda poster artist and member of the Red Guard, in the midst of government oppression, to the bloody Tiananmen Square massacre.
Oakville Galleries (2001) 48 pages 13 ill. (9 col.) 6x5 in. softcover 1894707036 $15.00 (Can./U.S.)
Marnie Fleming, Tomas Pospiszyl & Marc Mayer
An overview of the Canadian artist who is like no other in Canada or anywhere else jointly produced by two key art organizations. Tomas Pospiszyl provides a detailed look at Adam's career from 1983 to today while Marnie Fleming writes about one particular oeuvre, a work which has become Adams's signature piece, mutating and swelling over time: the Breugel-Bosch Bus. Pospiszyl begins with Adams's very first experiments, his "rides" that actually worked but suggested no specific use. Because Adams always worked in public view, the works had more in common with side-shows and carnivals than public art. But Adam's art could be as small as it is large and his intense miniatures, like The Artists' Colony with its tiny Henry Moore working on a sculpture and Cindy Sherman touring the grounds in her minuscule convertible, require hours of marvelling. Fleming concentrates on the old Volkswagen that over the years has been transformed into the Breugel-Bosch Bus. She calls it an R-rated Disneyland which, tapping into the part of us that has been invaded by consumerism and the entertainment industry, takes us on a riotous excursion through experiences that range from tourism to social unrest.
Oakville Galleries (2001) 143 pages 74 ill. (59 col.) 4x3 in. softcover 0921047959 $30.00 (Can./U.S.)
Louise Noguchi: Recent Work
Louise Noguchi & Karen R. White
Louise Noguchi's recent video installations, characterized by her own presence in rodeo performances, are investigated in three texts: excerpts from the artist's working journal; an interview between the artist and the curator; and a critical essay by curator Karen R. White. Prefaced by the refreshing clarity of the artist's voice, which offers insight into the artistic process and motivation, White's text provides an in-depth analysis of self-representation and identity in the context of the social space of media and cultural exchange.
Oakville Galleries (2001) 44 pages 23 ill. (13 col.) 6.5x4.5 in. softcover 0921027869 $12.00 (Can./U.S.)
Janet Cardiff : A Large Slow River (OUT OF PRINT)
To the delight of museum-goers around the world the internationally acclaimed audio-artist creates "sound fictions", carefully orchestrated experiences combining music, ambient sounds and narrative. Donning headphones and following a pre-ordained path, the listener becomes a participant in a shared exploration of sensory perceptions. For the current project, her site is a large garden on Lake Ontario. Conversations and events are strung together in such a way as to suggest a mystery. The gentle park becomes a place with the potential for tragedy. An organ grinder, opera singers, buzzing bullets and helicopters punctuate our reactions. The experience is all-encompassing due to a 32-track recording of binaural sound with omni-directional microphones, thereby producing a three-dimensional sound that simulates human hearing. In her essay, Fleming talks about Cardiff's desire to go beyond the traditional barriers imposed by art. By developing a dramatic relationship between sound and vision, she is able to communicate more directly with an audience than other mediums allow. Janet Cardiff recently received the Millennium Prize, one of the highest awards ever granted to a living Canadian artist. Since that time she has exhibited around the world, most notably at the Carnegie International (Pittsburgh 1999). Janet Cardiff was selected to represent Canada at the 2001 edition of the Venice Biennial.
Oakville Galleries (2001) 52 pages 17 col. ill. 5x5 in. case-bound softcover with CD 0921027974 $35.00 Can. / $27.00 U.S
Donald Lloyd McKinley: A Studio Practice in Furniture
Karen R. White
Furnituremaker and designer, Donald Lloyd McKinley (1932-1998) worked on the cusp of change in the field. Strongly inspired by the Bauhaus school in which artists and architects worked together towards the common goal of societal development, McKinley strived to combine art, craft and architecture based on a sound sense of form and colour. In a life devoted to teaching and with few commissions or patrons in his career, McKinley was free to follow a self-directed path which fostered experimentation and innovation. The body of his lifelong work, presented here, was indeed a studio practice. Born in Oklahoma, Donald Lloyd McKinley studied at the Ateneum in Helsinki as a Fulbright Scholar and then at Syracuse University earning a Masters of Industrial Design. In 1967 he moved to Oakville Ontario to set up and direct Sheriden College's School of Crafts and Design.
Oakville Galleries (2001) 48 pages, 14 ill. (4 col.) 9.5x6.5 in., 0921027990 softcover $15.00 (Can./U.S.)
Christian Marclay: Cinema
Ben Portis & Michael Snow
Christian Marclay is known for his interest in the materiality of the recording process, phonography - particularly the vinyl LP - having been the most frequent basis of his artistic practice. This publication explores the cinematic aspects of Marclay's work beginning with Vertigo: Soundtrack for an exhibition and continuing with video works such as Telephones (136 rapidly edited clips of Hollywood actors engaged in phone conversations) and Up and Out (a video collage from Antonioni's Blow Up with the soundtrack from Brian de Palma's homage to Antonioni, Blow Out). Portis's essay is accompanied by a conversation between Marclay and Michael Snow. Born in California, Christian Marclay lives and works in New York. He has exhibited at the Hirschorn Museum and Sculpture Garden in Washington, the Venice Biennale and the Whitney Museum of American Art.
Oakville Galleries (2001) 40 pages, 21 ill. (18 col) 6x6 in., 1894707001 softcover $12.00 Can./ $10.00 U.S.
David Mabb: The Decorating Business
Marnie Fleming, Steve Edwards & Matthew Higgs
The British painter's interest in the ideas of utopian art naturally led him to William Morris. The 19th century philosopher's vision of social change and his rejection of the Victorian world order was in part fueled by a commitment to a renewed aesthetic. Over a hundred years later, however, this is hard to imagine. Now Morris is prim and proper, his designs a part of the "fabric" of middle class respectability. Taking reproductions of Morris's textiles as his starting point, Mabb subtly breaks down and alters the designs allowing us to see once again why this aesthetic was so troubling at the time. In doing so he sets up a complex dialogue around the history of painting and the political process through which paintings are made and viewed. Edwards' essay The Trouble with Morris outlines why and how Mabb rehabilitates Morris's vision while creating his own. Higgs has organized a series of 20 questions from 20 colleagues directed to Mabb on the nature of his work. These colleagues include Janet Hodgson (London-based artist), Susan May (curator at Tate Modern), Jon Tupper (curator at the Banff Centre for the Arts), Gerard Hemsworth (lecturer at Goldsmith's College, London), Catsou Roberts (senior curator at the Arnolfini, Bristol) and Matthew Higgs (Associate Director at the ICA, London).
Oakville Galleries (2001) 63 pages16 col. ill. 7x5 in. softcover 0921027982 $15.00 (Can/U.S.)
Reid Diamond & Marnie Fleming
Throughout history the Beaver has been the source of both admiration and annoyance while always sustaining the imagination of artists. In Canada it has been seen as a picture of tradition and stability but the Beaver has also acted as a potent cultural signifier. The 15 artists presented here speak to characteristics of the Beaver in all its guises: as a symbol of engineering (Frank. O. Gehry, Komar and Melamid); as a concept of female mythology (Joyce Wieland); as a search for identity (Jin-me Yoon); as an integral part of the environment (Carl Skelton) and as muse and inspiration (Fastwurms). Fleming's essay provides an historical overview of the Beaver and its symbolic uses from the early days of Hudson's Bay Company through Expo 67 to contemporary merchandising. Diamond's essay looks at the works themselves. Accompanied by artists' statements.
Oakville Galleries (2001) 47 pages, 13 col. ill., 8x6.5 in. 0921027931 softcover $15.00 (Can./U.S.)
Illocution: Bethan Huws
Gregory Salzman & Hans Rudolf Reust
The Welsh artist's pictoral work consists of several parallel elements of a total thinking process, the matrix of which is an ongoing cross-referential study of all manner of phenomena, most particularly language. Extensive handwritten notes, segments of which are presented as a work in its own right, record this encompassing thinking process and become material for further reflection and creation. Salzman discusses Huw's watercolours as stark visual complements to her concerns with language and thought. Reust relates his own very personal reaction to her writing, comparing it to the work of Walter Benjamin as a discourse documenting the "awakening" to art. Bethan Huws has exhibited at the Kudsthalle (Bern), the ICA (London) and the Neue Kunstmuseum (Luzern). Co-published with Deiter Association, Paris.
Oakville Galleries (2001) 64 pages, 22 ill. (6 col.) 8.5x8.5 in., 0921027923 $20.00 (Can./U.S.)
Panya Clark Espinal The Visitor
Marnie Fleming & Ruth Kerkham
Panya Clark Espinal has been inspired by Martha Stewart. Through vehicles like Martha Stewart Living magazine, the "diva of domesticity" instructs readers on how to transform household furniture. Stewart's aim is not so much to tuck things away but to display the things in an even more conspicuous way. Clark Espinal picks up on the architectural connotations of these structures and turns them on their head. When closed, Clark Espinal's cupboards, chests and suitcases look as they should. When opened however we see that have been transformed into intricate spaces, drawers, containers and curiously shaped compartments. Kerkham's essay explores the notions of consumerism, domesticity and the search for perfection implicit in the work.
Oakville Galleries (2001) 31 pages 8 col. ill. 9.5x6.5 in. softcover 1894707028 $15.00 (Can./U.S.)
Tania Kitchell: White Out
Kitchell's multi-disciplinary work is all about the weather, particularly the Canadian Cold. Her diary entries document its advance and retreat. Her paper collages suggest the both the comfort and danger of the elements. Her felt body gear - hats, suits, mittens - would not keep one warm but like the suits of Joseph Beuys suggest healing and have a strong sculptural presence. Kitchell is also a hardy outdoor performance artist as documented in a series of photoragphs.
OakvilleGalleries (2001) 70 pages, 48 ill. (20 col.) 6x4 in., 189470701x $12.00 Can. / $10.00 U.S.
The Blood Records: Steele + Tomczak
Su Ditta, Mike Hoolboom & Johanne Lamoureux
Lisa Steele and Kim Tomczak's work forms an essential vein in the bedrock of video art history, offering a broad sweep of approaches to video making that have preoccupied media artists over the past twenty years. While "The Blood Records" develops a narrative about a young woman receiving treatment for tuberculosis in a rural sanitarium in 1944, the whole is woven into a tale that excavates the historical position and cultural impact of the disease. Hoolboom offers a critical commentary that glides across the centuries to touch Western culture's conflicted relationship with disease and death. Lamoureux peels away the layers of imagery and text in the tape to reveal the poetics and politics at work in the young woman's feverish tale. The extraordinary nature of the piece has been acknowledged by a publication that reflects the quality of the work, a bookwork that reproduces - in two volumes - the images and texts from the tape.
Oakville Galleries (2000)
The Blood Records, written and annotated: 64 p., 45 ill. (9 col.) 9x6.5 in.; The Blood Records, Critical Symptoms: 45 p., 13 ill.; 9x6.5 in.
Enclosed in slipcase. 0921027893 $20.00 (pb)
The Blood Records : Steele + Tomczak
Su Ditta, Mike Hoolboom et Johanne Lamoureux
L'oeuvre de Lisa Steele et Kim Tomczak constitue une des pierres d'assise de la vidéo d'art au Canada. Elle englobe une vaste gamme d'approches qui sont celles des praticiens de l'art médiatique depuis une vingtaine d'années. Si l'oeuvre s'articule autour d'une tuberculeuse francophone qui se fait soigner dans un sanitorium dands l'ouest canadien en 1944, le contexte sociale de l'époque est adroitement introduit dans un récit onirique qui tire de l'oubli la situation historique et l'impact culturel de la maladie. Trois textes offrent des analyses critiques des bûts poétiques et politiques des artistes. Deux volumes en un coffret.
Oakville Galleries (2000) The Blood Records, Diagnostic de crise: 45 p., 13 ill.; 23x16 cm. ; The Blood Records, inscriptions et annotations: 64 p., 45 ill. (9 coul.) 23x16 cm. 0921027893F $20.00
Organized as a conduit between the gallery inside and the garden outside, this exhibition of four installation artists exploits the theme of nature and the passage of time through the use of flowers as readymades. The artists - David Merritt, Chrysanne Stathacos, Laura Vickerson and Tomiyo Sasaki - encourage the viewer to take an active role in the unfolding narratives and slow motion dramas which the various uses and juxtapositions of petals, pins and light elicit. Includes an essay by Fleming and statements by the artists.
Oakville Galleries (2000) 38 p., 14 col. ill., 6x8 in., 2921027885 $12.00
Colin Darke: Labour in Irish History
Marnie Fleming & Eamonn McCann
Drake's work is informed by two fundamental principles, the dynamic of Irish history and a personal commitment to revolutionary socialism. Inspired by Irish political prisoners' secret communications, or 'comms' - messages written in tiny script on cigarette papers and smuggled out by kissing a loved one - Darke transcribes entire political manifestos directly on gallery walls. The publication includes a conversation with the artist and a glossary of Irish terms.
Oakville Galleries (1999) 73 p., 7x4.5 in. / 17x12 cm , 14 bw ill., 0921027834 $20.00 (pb.)
Raymond Gervais, Rober Racine: The Acoustic Gaze / Le Regard acoustique
Taking as their point of departure a rare photograph of Debussy and Satie together, the artists seek to redefine the relationship between listening and seeing through a series of installations realized over the past fifteen years.
Prennant comme point de départ une rare photographie de Debussy et Satie ensemble, les artistes tentent de redéfinir la relation entre l'écoute et le visuel à travers une série d'installations réalisées au cours des quinze dernières années. Comprend aussi des essais par Thériault, Racine et Gervais. With essays by Thériault, Racine and Gervais.
Oakville Galleries (1998) 48 p., ill., 9x8 in / 23x21 cm, 092102780x $15.00
Eight artists use the social conventions of the costume to address issues of representation. In his essay Metcalfe looks at ways in which artists approach the costume both physically and abstractly. Works by Hamish Buchanan, Teresa Marshall, Ruth Scheuing and Naoko Furene.
Oakville Galleries (1998) 39 p., col. ill., 5.5x8 in / 13x21 cm, 0921027796 $12.00
Paul Kipps: Cathexis
John Sallis & Marnie Fleming
The sheer size of Kipps' stone sculptures and photographs forces a re-evaluation of public space and its ramifications in, for example, landscape architecture. Oakville Galleries. (1998) 31 p., ill., 9x7 in / 23x17 cm, 0921027745. $15.00 (hb)
Soo-ja Kim: A Laundry Field - Sewing into Walking, Looking into Sewing
The Korean-born artist, known for her installations incorporating traditional bed-covers, situates her work within the social context of women's labour. With an essay by Fleming and an interview with the artist.
Oakville Galleries. (1997) 23 p., 8 col. ill., 8x11 in / 20x28 cm, 0921027737 $10.00
Richard Rhodes and Dot Tuer
Two essays accompany this exhibition catalogue dedicated to the installation collective jointly based in Poland and Canada.
Oakville Galleries. (1997) 26 p., ill., 5.5x7 in / 14x18 cm, 09210217680 $10.00
Track Records: Trains and Contemporary Photography / Chroniques en rail: trains et photographie contemporaine
Published in collaboration with the Canadian Museum of Contemporary Photography and featuring works by Roy Arden, Vera Frenkel, Angela Grauerholz, James Welling, and others.
Publié en collaboration avec le Musée canadien de la photographie contemporaine, cet ouvrage présente le travail des artistes Roy Arden, Vera Frenkel, Angela Grauerholz, James Welling et autres.
Oakville Galleries. (1997) 121 p., ill., 11x9 in / 28x23 cm, 0921027702 $22.00
Colette Whitten: Seducing the Receiver
Marnie Fleming and Francine Périnet
A body of recent beaded works by Colette Whiten that reproduce images and text from the news media in a way that prompts viewers to consider the nature of these media and the limits of their conventionalized rendering of events.
Oakville Galleries (1996) 24 pages, ill. 0921027591 $15.00
Millie Chen: Hungy Ghost Rubric
Oakville Galleries. (1997) 24 p., ill., 7x4.5 in / 18x12 cm, 0921027672 $10.00
Tatsuo Miyjima: Time House
Oakville Galleries. (1996) 28 p., ill., 7.5x7 in / 19x17 cm, 0921027648 $12.00
Patrick Corillon: Last Words and Tales of Oskar Serti
Johanne Lamoureux (et al)
Oakville Galleries. (1996) 89 p., ill., 11x7.5 in / 27x19 cm,092102763X $20.00
Robert Fones: These Goods are Manufactured by W.B. Chisholm, Oakville Ont
An artist's book
Oakville Galleries. (1998) 28p.,ill., 7x4.5 in / 18x12 cm 0921027753 $10.00
Aporia: A Book of Landscapes
A book work by the artist.
Oakville Galleries (1995) 324 pp 287 bw ill. 23 x 17 cm softcover (with velum dustjacket) 978-0-921027-55-3 $45.00 Can./U.S.
N. E. Thing Co: The Ubiquitous Concept
A reassessment of the work of Ian and Ingrid Baxter as key Canadian figures in the late 1960s and of the global trends emanating from the West Coast.
Oakville Galleries. (1995) 54 p., ill., 8x7.5 in / 21x19 cm, 0921027567 $18.00
Ken Lum: Recent Work
A situation of the artist's work within a postmodern return to the tradition of portraiture.
Oakville Galleries. (1995) 20 p., ill., 10x8 in / 26x21 cm, 0921027532 $10.00
Andy Patton: A Certain Kind of Blue
A personal essay by the curator reflects on Patton's work in which the colour blue is used to transform the experience of space.
Oakville Galleries. (1995) 16 p., ill., 10x8 in / 26x21 cm, 0921027540 $10.00
Sylvie Bélanger: The Silence of the Body / Le Silence du corps
Oakville Galleries. (1994) 53 p., ill., 9.5x7.5 in / 24x19 cm, 0921027478 (English/Français). $15.00
Micah Lexier: Book Sculptures
Nancy Toulsey & Marnie Fleming
Oakville Galleries. (1994) 500 p. (48 p. with text) 9.5x6 in / 24x16 cm, 0921027427 $22.00
David Tomas: Chemical Skins
Lesley Johnstone (et al)
Oakville Galleries. (1994) 63 p., ill., 9x6 in/ 23x15 cm, 0921027524 $15.00