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By the mid-1950s, young Montreal artists were turning their backs on the surrealist spontaneity of the Automatistes. Painting in Montreal paralleled the New York pattern of following the "hot" of abstract expression with the "cool" of post-painterly abstraction. But Montreal produced a late modernist practice markedly distinct and independent from New York's -- a movement known as the Plasticiens. Sumptuously illustrated, this volume features 75 paintings by Louis Belzile, Charles Gagnon, Yves Gaucher, Jean Goguen, Jauran (Rodolphe de Repentigny), Jean-Paul Jérôme, Denis Juneau, Fernand Leduc, Guido Molinari, Fernand Toupin, and Claude Tousignant.
This collection of artwork and writings by renowned artist, Duncan Regehr is a gem. Never one to be bewitched by the appearance of things, Duncan Regehr has devoted his life to going below the surface, reaching into the depths of psychology and the unconscious. His paintings and poetry explore his well-thought-out and penetrating assessment of humanity and the evolution of his social consciousness. Here he looks back at his relationship to nature, society, and the human condition. In series such as "Geoscapes," "Smokin Gun," and "The Grand Theme," he depicts environmental and societal changes—where we have come from and where we are headed. In the spectacular paintings presented here, Regehr's clarity of thought about our complex world is characteristically rendered with jewel-like use of color and many-faceted imagery. The accompanying poetry reveals a man of sensitivity to human experience and to the order of nature.
Part biography, part art history -- a thoroughly engaging look at one man’s life and his phenomenal influence on the world of contemporary art. Bill Reid was at the forefront of the modern-day renaissance of Northwest Coast Native art; but his art, and his life, was not without controversy. Like the raven -- the trickster and principal figure in countless Haida myths -- Bill Reid reinvented himself several times over. Born to a partly Haida mother and a father of German and Scottish descent, his public persona as a Haida Indian seems to have been as much a product of journalists, art patrons, museum curators and others in the non-Native establishment as of Bill Reid himself. It is clear that Reid’s art arose from the tension that existed between his Native and white artistic perceptions. Award-winning biographer and cultural historian Maria Tippett became intrigued by this enigmatic figure who referred to his own early works as “artefakes,” yet to this day continues to inspire new generations of Northwest Coast artists, including Robert Davidson and Jim Hart. But she questions whether Reid’s status as the architect of contemporary Native art is fair and accurate, given that artists such as Mungo Martin had been keeping the tradition alive since the beginning of the twentieth century. Most controversially, she explores how Reid brought a sensibility formed through his white heritage to the reinvention of Native art. By asking difficult questions about Reid’s life and work, and by analyzing the works of other Native artists since the beginning of the twentieth century, Tippet gives the reader the defining portrait of Bill Reid -- one of Canada’s most enigmatic and beloved artists. Bill Reid’s work can be found in private and public art galleries and museums all over the world. The Museum of Anthropology at the University of British Columbia houses the famous The Raven and The First Men and many smaller masterworks. The Spirit of Haida Gwaii, a monumental bronze sculpture over four metres high, is on display at the Canadian Embassy in Washington, D.C. The British Museum, the Musée de l’Homme in Paris and the Canadian Museum of Civilization in Ottawa also hold impressive examples of the work of this extraordinary and imaginative artist.
Garbage' is a series of architectural-scale paintings by Mathew Reichertz that transform the art gallery into a comic book. Taken together the paintings tell the story of neighbours in Halifax?s North End and a mysterious couch that shows up one morning on the narrator?s front curb. As the narrator confronts his neighbours, asking where it came from, he gains insight into their lives as well as his own. Garbage collects these paintings into a graphic novel, which includes an essay by exhibition curator Robin Metcalfe and an introduction by comics academic Benjamin Woo. Co-published by Conundrum Press and Saint Mary?s University Art Gallery. In 2005 Matthew Reichertz was the Eastern Canadian winner of the RBC Canadian Painting Competition and in 2006 was shortlisted for the Sobey Art Award. This is the first publication dedicated to his work. Robin Metcalfe is director of Saint Mary?s University Art Gallery and author of numerous exhibition catalogues. Benjamin Woo is co-author of 'The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comics (2016)'. 00Exhibition: Saint Mary?s University Art Gallery, Halifax, Canada (10.01.-08.03.2016) / Carleton University Art Gallery, Ottawa, Canada (18.01.-03.04.2016).