The Beaverbrook Art Gallery
With work appearing regularly in Canada’s most widely circulated online and print newspapers, Michael de Adder is one of the country’s foremost cartoonists - and he has had his share of controversy. His 2007 cartoon of Jerry Falwell arriving in Hell and the devil exclaiming ‘Surprise!’ is just one example. His famous cartoon on the election of Pope Benedict XVI remained unpublished because a Catholic editor deemed it too controversial. But the cartoon triumphed when it won the 2006 Association of American Editorial Cartoonists Golden Spike Award. This exhibition catalogue provides a chronological survey of de Adder’s political cartoons over the last 25 years. As such, it offers the unique opportunity to assess his career and critical sensibility and, of course, his artistic talent. Virgil Hammock is past president of the Canada section of the International Association of Art Critics and past president of the Universities Art Association of Canada.
Drawing Conclusions: The Political Art of Michael de Adder
Beaverbrook Art Gallery (06/2016) 72 pp col. ill. 10.5 x 8.5 in softcover 9780981328034 $14.95 Can. $16.95 U.S.
Writing Topography: The Marion McCain Exhibition of Contemporary Atlantic Art /
Créer la topographie : L’exposition Marion McCain d’art contemporain de la région Atlantique
Twenty-four artists from all four Atlantic Canadian provinces consider the imaginary and geographic role of place. Probing beneath the surface of the landscape, the artists reveal complex layers of histories and mythologies, and critique the notion of landscape as ‘natural,’ uncovering and examining how technologies, socio-political agendas, and economics mark the geographic. A wide range of work ranging from photography to installation, painting, sculpture, intervention and performance explores the idea of invisible landscapes, and challenges the demarcation, colonization, and militarization of the land. The artists investigate how memory, histories and mythologies mark place and expose how habitats have been radically altered by artificial boundaries. By responding to both specific Atlantic Canadian narratives, aswell as broader concepts of place, this publication showcases artists who map the real and imagined marks made by human habitation and technological progress. In English and French.
Vingt-quatre artistes des quatre provinces atlantiques se penchent sur le rôle imaginaire et géographique du lieu. En explorant ce qui gît sous la surface du paysage, les artistes révèlent des couches d’histoire et de mythologie et critiquent la nation du paysage « naturel », découvrant et examinant combien les technologies, les plateformes sociopolitiques et économique touchent la notion de géographie. Les œuvres proviennent d’une vaste gamme de disciplines, de la photographie à l’installation, la peinture, la sculpture, l’intervention et la performance. Ensemble elles explorent les paysages invisibles et remettent en question la démarcation, la colonisation la militarisation et le territoire. Par leurs œuvres, les artistes enquêtent sur la façon par laquelle la mémoire, l’histoire et les mythologies touchent le lieu, et ils exposent combien les habitats sont fortement modifiés et manipulés. En réponse à des récits particuliers de l’art de la région atlantique canadienne ainsi qu’aux concepts plus vastes du lieu, les artistes cartographient les marques réelles et imaginaires faites par les habitations humaines et par le progrès technologique. En français et anglais.
Artists / Les artistes : Robert Bean, Gerald Beaulieu, Jennifer Belanger, Remi Belliveau, Jordan Bennett, Kay Burns, Amanda Dawn Christie, Richard Davis, Leah Garnett, Pam Hall, Mark Igloliorte, Navarana Igloliorte, Ursula Johnson, Philippa Jones, Stephen Kelly, Eleanor King, Fenn Martin, Michael McCormack, Kim Morgan, Nigel Roe, Sara Roth, Anna Torma, Gerald Vaandering, Kim Vose Jones.
Beaverbrook Art Gallery (10/2015) 163 pp 74. col. ill. 9 x 10.5 in softcover 9780981328027 $24.95 Can. $27.95 U.S.
Phantom Presence: Contemporary Photography in New Brunswick /This overview of the work of 16 contemporary photographers explores the “phantom” qualities of the art form through a diversity of approaches, technologies and aesthetic viewpoints. Refuting the widespread belief that photography offers a realistic reproduction of the world, these artists create work that is elusive, deceptive, and mysterious. Their work captures shadows or reflections of the past that somehow exists in the present, proving photography to be an uncanny medium. Two original essays are interspersed with individual presentations of each artist. The artists: Jaret Belliveau, Kyle Cunjak, Oliver Flecknell, Rachael Flett, Julie Forgues, Mathieu Léger, Evan Rensch, Karen Stentaford, Christina Thomson, Carol Collicut, Amanda Dawn Christie, Frédéric Gayer, Paul Griffin, Peter Gross, Annie France Noël, Sophie Polanski and Vitaly Korneeva, Neil Rough, and Karen Ruet. In English and French.
Présence fantôme : la photographie contemporaine au Nouveau Brunswick
Karen Ruet & Terry Graff
Ce survol du travail de 16 photographes contemporains explore l’aspect du « spectre » dans la photographie par une grande diversité de méthodes, de technologies photographiques, de points de vue esthétiques et de visions contemporaines. En dépit du point de vue populaire qui veut que les photographies offrent des reproductions et des copies réalistes du monde, elles ne fournissent aucune preuve empirique de la réalité et elles ne sont pas des archives stables de la réalité. Deux textes originaux sont accompagnés par une présentation invidividuelle de chaque artiste. Les artistes : Jaret Belliveau, Kyle Cunjak, Oliver Flecknell, Rachael Flett, Julie Forgues, Mathieu Léger, Evan Rensch, Karen Stentaford, Christina Thomson, Carol Collicut, Amanda Dawn Christie, Frédéric Gayer, Paul Griffin, Peter Gross, Annie France Noël, Sophie Polanski and Vitaly Korneeva, Neil Rough, and Karen Ruet. En français et anglais.
Beaverbrook Art Gallery (06/2014) 102 pp 87 ill. (54 col.) 11 x 9 in softcover 9780920674901 $14.95 Can. $17.95 U.S.
Jaret Belliveau: Dominion Street
Andrea Kunard and Terry Graff
In this first monograph dedicated to the work of the young photographer, we witness a pivotal period in the artist’s life: his mother’s struggle with cancer and the impact of her illness on the family. Three major threads reveal themselves in this series: the resistance by the artist’s mother, the maturity of the artist’s brother, and the coping of the artist’s father. Viewers witness the worsening of his mother's health over several photographs, but the artist also captures her emotional highs. The family orbits Mrs. Belliveau throughout the series, attesting to their strength and resilience. Among his influences Jaret Belliveau cites Larry Sultan, Nan Goldin and Diane Arbus. Also a filmmaker, he won the Jury Award - along with co-director Matthew Bauckman - for Documentary feature film at the 2014 Slamdance film festival for their film Elliot. Andrea Kunard is Associate Curator at the Canadian Museum of Contemporary Photography and co-author of the recently published Shine A Light: The 2014 Canadian Biennial. Terry Graff is Director of the Beaverbrook Art Gallery and author of numerous publications.
Actual cover image to follow.
Beaverbrook Art Gallery (04/2015) 119 pp 41 col. ill. 10 x 8 in softcover 9780920674888 $15.00 Can. $18.00 U.S.
Tom Forrestall: A Car for All SeasonsTom Forrestall has been one of Canada’s pre-eminent visual artists for nearly half a century. His art has often been classified as ‘magic realism’ and his practice compared to other post World War II Canadian artists such as Alex Colville and Christopher Pratt. As this publication admirably conveys, Forrestall has turned his talents to a most unlikely canvas: his 1980 Mercedes-Benz 300 SD. Finding himself at a crossroads with respect to the aging vehicle’s fate, he decided to create “A Car For All Seasons”. For the six months while Forrestall meticulously painted the car, the public was invited to watch his progress and in the late summer of 2014, the car officially unveiled at the local Mercedes dealership. The reality of the Canadian climate portrayed with a hyper-photographic treatment has transformed the vehicle into an exquisite metaphor whereby Forrestall invites viewers to reconsider the status of the automobile and our relationship with it. In English and French.
Beaverbrook Art Gallery (03/2015) 28 pp 16 col. ill. 8.5 x 8.5 in softcover 9780920674895 $7.95 Can. $9.95 U.S.
Off the Grid: Abstract Painting in New Brunswick / Hors réseau : La peinture abstraite au Nouveau-Brunswick
With / avec: Virgil Hammock, Ian G. Lumsden, Jacques Martin and Maryse Grondin, & Ingrid Mueller
This lavishly illustrated publication constitutes a ground-breaking statement on the presence, nature and meaning of non-representational painting in New Brunswick. In most authoritative narratives of the visual arts in Canada, developments in the artistic life in the province are often pushed to the historical margins or even absent, in favour of reinforcing the same identifiable names, movements and styles. In reality, however, the story of the visual arts in Canada is infinitely richer and more complex than most cursory discourses tell us. As this publication ably reveals, there is a unique history of abstract painting in New Brunswick that has, until now, never been told. And it is one that can only deepen our understanding and appreciation of Canadian visual arts culture. The artists featured include senior, mid-career, and emerging artists: Jared Betts, David Bizzo, Sarah Cale, Luc Charette, Lionel Cormier, Mark DeLong, Angel Gomez, Georges Goguen, Toby Graser, Jay Isaac, Jocelyn Jean, Christian Michaud, Deanna Musgrave, Dana O’Regan, Sarah Petite, Lori Slauenwhite, and David Umholtz. Also highlighted is a selection of non-figurative art by some of the province’s pioneering abstract painters, most notably Jack Humphrey, Lawren P. Harris, Fritz Brandtner, Claude Roussel, Joseph Kashetsky, and Roméo Savoie, and the surprising recovery of R. D. Turnbull, one of Canada’s earliest abstractionists, who made a significant contribution to the development of Abstract Expressionism in North America, but is virtually unknown in the annals of Canadian art history. In English and French.
Dans les récits le plus respectés portant sur les arts visuels au Canada, les innovations de la scène artistique du Nouveau-Brunswick sont souvent reléguées aux marges ou clairement absentes de l’histoire, au profit d’un renforcement des mêmes noms d’artistes, de mouvements ou de styles connus. Cette publication met au défi de tels des discours superficiels ou sectaires qui se perpétuent eux-mêmes, découvrant une histoire d’art canadien infiniment plus riche et plus complexe que ce que l’on nous a fait coire. Parmi les artistes : Luc Charrette, Roméo Savoie, Claude Roussel, Lionel Cormier, Christian Michaud et Jocelyn Jean. En français et anglais.
Beaverbrook Art Gallery (07/2014) 212 pp 130 col. ill. 9 x 9 in softcover / souple 9780920674772 $50.00 Can. $55.00 U.S.
Eric Atkinson is a major Canadian abstract landscape painter, whose extensive career as an artist and art educator straddles both sides of the Atlantic, and is currently being rediscovered in England. A visual poet of the landscape, his paintings are created on the studio floor by working from all four sides of a canvas. He disrupts the picture plane, an amalgam of sand and glue, with incised calligraphic markings that suggest the natural rhythms of wind and water, of sculpted landforms created over the course of thousands of years from geological erosion – a layering of time and ancient memory. Appropriately referred to by the artist as “journeys through the landscape”, his paintings are not literal depictions, but expressions of the interpenetration of inner and outer landscapes, of the integral relationship between the processes of art making and the forces of nature, or as Atkinson states, “the forms echo the geological structure of the land and the calligraphy left by man and nature upon its surface.” Born in Hartlepool, England, in 1928, Atkinson was the assistant to Harry Thubron at Leeds College of Art from 1955 to 1961 before he succeeded him as Head of Fine Art. He emigrated to Canada in 1969 and became Dean of Applied Arts at Fanshawe College in London, Ontario. The Basic Course at Leeds is now recognized as one of the most innovative post-Bauhaus education programs in Europe, a radical change in art educational thinking that values self-expression and the creative process over the transfer of technical skills and a permanent set of artistic values that also became part of Atkinson’s legacy at Fanshawe College. Atkinson’s work has been exhibited widely in Britain, Canada, and the United States, and is represented in many public and private collections.
Eric Atkinson: Journeys Through the Landscape
Ted Fraser, Terry Graff and Don Bonham
Beaverbrook Art Gallery (07/2014) 88 pp 41 col. ill. 11 x 9 in softcover 9780920674758 $30.00 Can. $36.00 U.S.
Elma Johnston McKay is a master metalsmith who, between 1996 and 2009, researched and crafted an extensive collection of replications and interpretations of historical keys. This publication presents, for the first time, McKay’s creative exploration of the design, metalwork, and symbolic use of keys in imagery and lore across time and different cultures. This collection of handcrafted keys formed in copper, silver, brass, and gold includes “inspiration” pieces (replicas or likenesses of historical keys derived from artworks or literary sources) and contemporary reinventions of those key(s) based on themes ranging from competition to tolerance, patronage to greed. Elma Johnston McKay’s practice is a rare merging of contemporary fine craft, fine art, and art history.
Four Turns of a Key: Metalworks by Elma Johnston McKay
Beaverbrook Art Gallery (07/2014) 72 pp 78 col. ill. 10 x 8 in softcover 9780920674734 $25.00 Can. $30.00 U.S.