Kitchener-Waterloo Art Gallery
Circling the Inverse SquareArtists who share a fascination with science create works that are neither illustrative of scientific principles nor concerned with presenting arguments toward any particular issue in theoretical physics. Instead, they attempt to elucidate the inconceivable through the exploration of voids and infinities. Paradoxes and conundrums are often at the root of these explorations, from humorous and playful to serious and speculative. Using a wide range of approaches these artists examine the edges of human perception in ways that embrace systematic approaches, resulting in sculptures, installations, photographs and drawings that illuminate connections which are usually imperceptible. The artists: Adam David Brown, Jessica Eaton, Karilee Fuglem, Marla Hlady, Richard Sewell, Charles Stankievech. Prior to his current position in the art history department at Toronto's York University, Dan Adler was senior editor of the Bibliography of the History of Art at the Getty Research Institute. He is the author of Hanne Darboven: Cultural History 1880–1983 (MIT Press). Shannon Anderson is an independent curator and writer and a regular contributor to Art Papers, Azure, C magazine, Carousel and Canadian Art.
Dan Adler and Shannon Anderson
Kitchener-Waterloo Art Gallery (09/2016) 76 pp 20 col. ill. 8.25 x 5.75 in hardcover 9781897543238 $20.00 Can. $22.00 U.S
Jane Buyers: Gather Arrange Maintain
Crystal Mowry, Nancy Campbell and John Armstrong
Jane Buyers's artistic practice can be defined by what Foucault called “the production of discourse.” Her fascination with the physicality of materials and the technologies involved in executing her work is evident in the exacting way she employs difficult media such as bronze, porcelain, clay, wax, wood, fabric, and found objects. Trained in the era of Minimalism and Conceptualism, Buyers references architecture, tools, books and botanical imagery as sites for human agency. Fusing the organic with the artificial, she searches for a synthesis of materials and forms to speak of opposing desires and representational tensions. More acutely, her work retains a connection to the conditions of women’s existence, specifically their sites of learning and labour such as the library, the studio, and the house. These romanticized, artificial representations are significant to Buyers as reflections of impulses of manipulation and idealization, expressive of a desire to be connected, to make order, and to find meaning in our lives. This career monograph accompanies a major exhibition featuring a selected thirty-year survey of works from 1982 to 2012, and features two original essays and an interview with the artist. Jane Buyers has exhibited throughout Canada since 1974 and her work can be found in numerous collections including the Art Gallery of Nova Scotia and Toronto’s Museum of Contemporary Art. With its board-book format, embossed lettering, sculpted corners, and vellum-like pages, this exquisitely produced publication echoes the artist’s preoccupations with functional aesthetics, vernacular materials and craftsmanship. The artwork is featured in dozens of full-page colour plates with fold-outs.
Kitchener-Waterloo Art Gallery (08/2015) 104 pp 64 col. ill. 10.5 x 7.5 in hardcover 9781897543221 $35.00 Can. $40.00 U.S.
David R. Harper: Entre le Chien et le Loup
Robin Metcalfe, Crystal Mowry, Jan Peacock, Lisa Stone and Jim Zanzi
Enclosed 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.
Kitchener-Waterloo Art 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.
Since the early 2000s Jason de Haan has made a name for himself with sculptures, collages, installations and public projects that engage time, especially the long-scale perception of time. Like Duchamp, his goal is to make an art that signifies more than just its three dimensions. Two of de Haan’s larger works New Jerusalem (2010) and New Jerusalem, Cloud Shrouded (2012) embody the artist’s approach as they push the viewer to envisage time on a broader, geological scale. Titled after the post-apocalyptic 'City of God', New Jerusalem is a dizzying cityscape of glass domes and crystal towers populated with monuments of omniscient eyeballs and spacecraft. It’s counterpart, New Jerusalem, Cloud Shrouded, is a veritable colour wheel of cloudscapes, void of any signs of life. Together the effect is one of ambiguity; which is our future and which is our past? This work, like many others, revolves on a kind of magical thinking in which de Haan uses language to reinvent the purpose of the objects in order to reveal something more. The publication’s title is the Middle English version of the phrase “Nowhere Bodily is Everywhere Ghostly” and is drawn from The Cloude of Unknowyng, an anonymous 14th century text of theological mysticism whose main proposition is to surrender one’s mind to a realm of "unknowingness”. The text invites the reader to consider positions above and below "the cloud", an apt description of Jason de Haan’s work.
Jason de Haan: Noghwhere Bodili is Everywhere Goostly
Richard Rhodes, Nicholas Brown, Candice Hopkins, Ryan Doherty, David Diviney, Crystal Mowry, and Gustaf Sobin
Kitchener-Waterloo Art Gallery / Southern Alberta Art Gallery (01/2014) 176 pp 100 col. ill. 9.5 x 6.5 in hardcover 9781894699617 $30.00 Can. $35.00 U.S.
Amanda Cachia, Ernest Callanbach and Anthony Vidler
This thematic publication of a group exhibition explores the confluence of nature and human intervention that has had both glorious and profoundly dispiriting effects on the world in which we live. Twelve artists approach the natural and built environment with anxiety, humor, irony, amazement and terror. Their vision in an ecotopian one, where the world is neither utopian nor dystopian, neither ideal nor nightmarish. They offer an alternative for postmodern living, where nature and technology can live more harmoniously, without wreaking great havoc on our environment. Through their work they suggest that while this world we live in may be upside down, the new and decaying structures that we have created possess a beauty of decay where objects, monuments, and sites that have been overtaken by weeds, graffiti, wildlife are in fact a new archaeology for a new generation. Participating artists: BGL, David Brooks, Dagmara Genda, Rodney Graham, Isabelle Hayeur,Tristram Lansdowne, Maude Leonard-Contant, Lynne Marsh, Lisa Sanditz, Jennifer Steinkamp, T & T and Kate Wilson.
Kitchener-Waterloo Art Gallery / Southern Alberta Art Gallery (11/2013) 80 pp 40 col. ill. 9 x 8 in hardcover 978-1-897543-20-7 $25.00 Can. $29.00 U.S.
Sylvain Campeau, Sandra Dyck, Annie Gauthier, Katarina Gubash, Marie-Claude Landry, Shirley Madill, Crystal Mowry, and Mathilde Roman
Serbian-born Canadian artist Milutin Gubash has developed a diverse practice incorporating performance with video, photo and digital installations and focused on the investigation of his own personal, social, and cultural identity. This first monograph examines the overlap of history, humour and authenticity found in his multifaceted practice. Often cast as the lead alongside his family and friends, Gubash employs narrative to blur the boundaries between real, lived lives and the people that we wish we were. Major projects featured include Which Way to the Bastille?, which recounts the story of his father’s life in, and escape from, communist Yugoslavia. The video These Paintings explores the life of the artist under Communism. The hilarious Born Rich, Getting Poorer is a sitcom-style video series (complete with laugh track) starring Gubash as himself, the Buster Keatonish everyman who embarks on a hapless search for home and for roots, after the recent death of his father. Published to accompany a multi-venue ten year survey of Gubash’s work, the publication includes original essays and complete photographic documentation. Born in Novi Sad, Serbia and living in Montréal, Milutin Gubash has exhibited throughout Canada, the United States, and Europe since 2000. His practice encompasses photography, video, and performance, and regularly features the participation of his family and friends in sitcoms, soap operas, family photos, and improvisational theatre pieces. Co-published with Carleton University Art Gallery, Musée d’art de Joliette, Rodman Hall Art Centre, and Southern Alberta Art Gallery. In English and French. Note: A DVD is not included as once announced.
Kitchener-Waterloo Art Gallery (03/2013) 192 pp 80 col. ill. 11 x 8 in hardcover 978-1-897543-19-1 $40.00 Can. $45.00 U.S.
John Kissick: A Nervous Decade
Roald Nasgaard, Liz Wylie & Jason Lahr
Painter, educator and writer. As an artist, John Kissick has built a reputation with tumultuous abstract paintings marked by an encyclopedic array of painted motifs and textures drawn from a global pool of visual representation. This first career monograph traces the trajectory of Kissick's work from its origins in the reconfigurations of abstract expressionism, through to its current immersion in hybrid painting and popular culture. Three essays by noted curators and critics trace the critical trajectory of Kissick’s work over the past decade. Parallel to his career as an artist, Kissick has authored numerous books, notably, Art: Context and Criticism (1996) and was Head of Painting at Penn State University School of Visual Arts. His work can be found in major collections throughout North America.
Kitchener-Waterloo Art Gallery (08/2010) 80 pp col. 40 col. ill. 10 x 8 in softcover 978-1-897543-07-8 $29.95 Can. $32.95 U.S.
Field Notes is a continuation of James’ interest in the agrarian landscape, with a special focus on the Waterloo region in densely populated southwestern Ontario. These photographs show us an idyllic pastoral landscape as it is today. Yet urban encroachment and highway traffic jams announce pending change – an acknowledgment that we are witnessing a landscape on the cusp of dramatic transformation. The photographs of Geoffrey James have been the subject of numerous exhibitions and featured in several publications. This limited boxed set edition of individual photographs offers a more immediate connection with the artist’s work.
Geoffrey James: Field Notes
Kitchener Waterloo Art Gallery (03/2008) 14 photographs enclosed in a slipcase (5.25 x 11 in ) 978-0-9782669-9-8 $30.00
Heavy Weather: Art Green Retrospective
Gary Michael Dault
This first overview of Art Green's paintings spans the 40 years since his days in Chicago as a member of the infamous Hairy Who in the 1960s. Green's uvre is a culmination of his environment, from his interest in Chicago architecture and the blues to recent explorations of geometry. The publication includes images of the 50 works loaned from numerous private and public collectors in the United States and Canada as well as resource images which have inspired the artist over the years. Co-published with the University of Waterloo Art Gallery
Kitchener-Waterloo Art Gallery (11/2005) 64 pp 74 col. ill. 7 x 9.5 in softcover 0-9738180-1-8 $20.00
Andrew Wright: Blind Man's Bluff
Robert Enright & Andrew Wright
The Blind Man's Bluff publication and DVD package is a unique outcome of a video installation. The original installation includes a video showing a man watching a monitor, wearing a set of earphones and describing what he sees and hears of Boris Karloff's last film. The viewer never sees the actual movie but instead watches the man respond to the film. One must read the transcribed dialogue while the actor relays Wright's descriptive script for the movie, thus creating an extraordinary cinematic experience as the visual becomes auditory and the auditory visual. The elegant publication includes an essay, the script and the feature length DVD.
Kitchener-Waterloo Art Gallery (11/2005)
Catalogue essay 24 pp; Script 53 pp 19 ill. 5 x 8 in. softcover with DVD 0-9731926-5-8 $35.00 Can./U.S.