{"title":"Art Gallery of Nova Scotia","description":"","products":[{"product_id":"john-greer","title":"John Greer","description":"\u003cp\u003eA man in a darkened workshop, surrounded and obscured by dust clouds. A pair of larger-than-life hands, holding a mallet, ready to strike. Spectacles that play with the idea of turning lies into truth and cynics into believers. A cinder block, precariously suspended above a fragile glass, held in place by a single line of tension. Welcome to \u003ci\u003eJohn Greer: retroActive\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eSculptor, conceptual artist, and unconventional art maker John Greer has been telling stories through his work for more than fifty years. 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Also included in the book are essays by Ray Cronin, Andria Minicucci, Dennis Reid, Ron Shuebrook, David Diviney, Sarah Fillmore, and Vanessa Paschakarnis.\u003c\/p\u003e\u003cp\u003eJohn Greer taught at the Nova Scotia College of Art and Design for almost three decades, where his thinking and teaching helped shape contemporary sculpture in Canada. His work has been included in more than fifty solo and sixty group exhibitions and is held in public and private collections around the globe. In 2009 Greer was the recipient of the Governor General's Award in Visual and Media Arts, Canada's highest distinction in the field of art and culture.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eDavid Diviney is the Chief Curator at the Art Gallery of Nova Scotia. 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Here, guided by subtle gestures and intense interactions, an anthropomorphic bison and cougar create a bond that spans all stages of maturity, playful creativity bringing them together and violent awkwardness tearing them apart.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSecret Citadel\u003c\/i\u003e présente l’installation multimédia spectaculaire bien connue de Graeme Patterson. L’oeuvre explore les vicissitudes d’une amitié masculine, en quatre tableaux vidéosculpturaux appuyés par une narration expérimentale sous forme d’animation image par image. Alternant gestes subtils et interactions intenses, un bison et un cougar anthropomorphes, rapprochés par une espièglerie créative, se lient d’une amitié qui résiste jusqu’à la maturité, avant d’être séparés par une brusque maladresse.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eGraeme Patterson is a Canadian stop motion animator.\u003c\/p\u003e\u003cp\u003eGraeme Patterson est un animateur stop motion canadien.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e200 pages\u003cbr\u003ePub date: January 1, 2014\u003cbr\u003e","brand":"Graeme Patterson","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9781554576197\u0026nbsp;\u0026nbsp;$49.95","offer_id":31618377941049,"sku":"9781554576197","price":49.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/products\/9781554576197_FC_e529620c-8fd3-4f3c-8779-f9a4ac69086d.jpg?v=1588233692"},{"product_id":"arena","title":"ARENA","description":"From creativity to imagination and the pursuit of excellence, \u003ci\u003eARENA: The Art of Hockey\u003c\/i\u003e both illustrates the art of the game and examines larger ideas and issues in contemporary culture by using hockey as a framework.\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eRay Cronin is a writer, curator, and Director of Exhibitions, Collections and Curatorial Initiatives at the Beaverbrook Art Gallery. 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Accompanying a nationally touring exhibition opening first at Art Windsor-Essex before moving to the MSVU Art Gallery, Halifax, in the spring of 2024, \u003ci\u003eSarah Maloney’s Pleasure Ground\u003c\/i\u003e features essays by exhibition co-curator Laura Ritchie, textile scholar and curator Sarah Quinton, and Art Gallery of Nova Scotia CEO Sarah Moore Fillmore, as well as 70 full-colour images of Maloney’s provocative and joyful work. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eLaura J. Ritchie is the Director of Institutional Advancement at the Beaverbrook Art Gallery. Previously an independent curator and art consultant, she is a fellow of the Getty Leadership Institute and a Mt. Allison and Western University alumna. 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Ritchie","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9781773104195\u0026nbsp;\u0026nbsp;$45","offer_id":44321921302767,"sku":"9781773104195","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781773104195_FC_fd1dd982-fcc3-4df7-930f-570078822f8b.jpg?v=1781080917"},{"product_id":"les-lieux-de-plaisance-de-sarah-maloney-french","title":"Les lieux de plaisance de Sarah Maloney (French)","description":"\u003cp\u003e\u003ci\u003eLes lieux de plaisance de Sarah Maloney : un regard féministe sur le monde naturel\u003c\/i\u003e est la première rétrospective d’envergure sur la sculptrice et artiste textile contemporaine Sarah Maloney, ARC. Elle observe l’histoire et la culture occidentales avec un regard féministe, produisant des illustrations de plantes, d’os et d’organes pour traiter du genre, du plaisir, du désir et du pouvoir. \u003c\/p\u003e\u003cp\u003e \u003ci\u003eLes lieux de plaisance\u003c\/i\u003e couvre les 30 années de carrière de Sarah Maloney au moyen d’une sélection d’œuvres qui fournissent un bel aperçu de ses explorations sur la sexualité, la reproductivité, l’économie et les systèmes de représentation coloniaux. Le catalogue \u003ci\u003eLes lieux de plaisance de Sarah Maloney\u003c\/i\u003e, qui accompagne une exposition itinérante d’envergure nationale, comporte des essais de la co-commissaire d’exposition Laura Ritchie, de l’experte en textile et commissaire Sarah Quinton et de la directrice générale du Musée des beaux-arts de la Nouvelle-Écosse, Sarah Moore Fillmore. Les textes sont agrémentés de 70 photographies en couleurs des œuvres joyeuses et provocantes de Maloney. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eLaura J. Ritchie est directrice du développement institutionnel au Musée des beaux-arts Beaverbrook et membre titulaire (\u003ci\u003efellow\u003c\/i\u003e) du Getty Leadership Institute. Diplômée de l’Université Mount Allison et de l’Université Western, elle a été commissaire indépendante et consultante en art. Ancienne directrice de la MSVU Art Gallery à Halifax, Laura a travaillé dans les domaines des collections, des expositions et de l’administration au Musée du Nouveau-Brunswick, au Conseil d’artisanat du Nouveau-Brunswick, au Conseil des arts du Nouveau-Brunswick, au Museum London, à la Tom Thomson Memorial Art Gallery, à la Commonwealth Association of Museums, à l’Art Gallery of Alberta et à la Kelowna Art Gallery. Laura est l’une des co-organisatrices de la récente exposition itinérante \u003ci\u003eLes lieux de plaisance de Sarah Maloney\u003c\/i\u003e et a dirigé la préparation du catalogue qui l’accompagnait.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e120 pages\u003cbr\u003ePub date: October 1, 2024\u003cbr\u003e","brand":"Laura J. Ritchie","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9781773104201\u0026nbsp;\u0026nbsp;$45","offer_id":44705058554095,"sku":"9781773104201","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781773104201_FC.jpg?v=1779350501"},{"product_id":"colleen-wolstenholme-french","title":"Colleen Wolstenholme (French)","description":"\u003cp\u003e« Colleen Wolstenholme crée des œuvres réfléchies, puissantes, subversives et, au bout du compte, porteuses d’espoir. Son travail est à la fois cérébral et direct, ésotérique et populaire, facile à regarder, mais difficile à oublier. » — Ray Cronin \u003c\/p\u003e\u003cp\u003e\u003ci\u003eColleen Wolstenholme : Hyperobjectivité\u003c\/i\u003e réunit des tableaux, sculptures et installations de Wolstenholme réalisés depuis plus de trente ans. Le nom de l’exposition s’inspire du concept d’hyperobjet, soit une réalité telle que le climat, le capitalisme ou les fonds marins, dont l’échelle est si vaste qu’elle dépasse la capacité de perception normale de l’être humain. Dans ses œuvres – moulages en cuivre et en argent sterling de pilules contre l’anxiété (Prozac, Zoloft, Paxil et Valium) ou tableaux à l’acrylique et à l’huile qui mettent en scène, selon les termes de Laura J. Ritchie, « des êtres autrefois impossibles à connaître » des profondeurs des océans –, Wolstenholme explore la manière dont nous circulons dans ces réseaux et sommes façonnés par eux. Son travail varie considérablement sur les plans des genres et des styles, allant de la peinture figurative et de l’art vestimentaire à des œuvres abstraites et à des installations à grande échelle. Bien qu’elles résistent à toute catégorisation, les œuvres de Wolstenholme témoignent toujours de son intelligence redoutable et ouvrent un dialogue avec les réalités contemporaines. \u003c\/p\u003e\u003cp\u003eLe catalogue de l’exposition \u003ci\u003eColleen Wolstenholme : Hyperobjectivité\u003c\/i\u003e sera publié à l’occasion d’une grande rétrospective organisée par le Musée des beaux-arts Beaverbrook. Le livre présente plus de 75 œuvres de l’artiste ainsi que deux essais percutants des conservateurs Ray Cronin et Laura J. Ritchie. \u003c\/p\u003e\u003cp\u003eColleen Wolstenholme s’exprime au moyen de différentes disciplines : joaillerie, peinture, sculpture, broderie et installations multimédias. Elle est titulaire d’un baccalauréat en beaux-arts (spécialisation en sculpture) du NSCAD et d’une maîtrise en beaux-arts (axée sur la joaillerie) de l’Université d’État de New York à New Paltz. Elle s’est fait remarquer pour la première fois lors de la tournée Lilith Fair de Sarah McLachlan, où elle vendait ses bijoux en forme de pilules. Depuis, ses œuvres ont été exposées dans des galeries à travers le Canada, ainsi qu’à Londres (Royaume-Uni), et à New York, et font partie de nombreuses collections, notamment celles du Musée des beaux-arts du Canada et du Musée des beaux-arts de Montréal. Née en Nouvelle-Écosse, Wolstenholme a vécu à Halifax, New York et Vancouver. Elle est actuellement professeure adjointe en arts visuels à l’Université St. Thomas, à Fredericton. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eRay Cronin est directeur des expositions, des collections et des projets de conservation au Musée des beaux-arts Beaverbrook. De 2001 à 2015, il a été conservateur et directeur au Musée des beaux-arts de la Nouvelle-Écosse, avant d’en être nommé le PDG. Cronin est diplômé du Nova Scotia College of Art and Design (aujourd’hui NSCAD University), de l’Université de Windsor et du Getty Museum Leadership Institute. Ray Cronin est le commissaire fondateur du Prix Sobey pour les arts et, en 2025, il a été nommé membre titulaire (\u003ci\u003efellow\u003c\/i\u003e) du New Brunswick College of Craft and Design. Il est l’auteur de quinze ouvrages sur l’art canadien.\u003cbr\u003e\u003cbr\u003eLaura J. Ritchie est directrice du développement institutionnel au Musée des beaux-arts Beaverbrook et membre titulaire (\u003ci\u003efellow\u003c\/i\u003e) du Getty Leadership Institute. Diplômée de l’Université Mount Allison et de l’Université Western, elle a été commissaire indépendante et consultante en art. Ancienne directrice de la MSVU Art Gallery à Halifax, Laura a travaillé dans les domaines des collections, des expositions et de l’administration au Musée du Nouveau-Brunswick, au Conseil d’artisanat du Nouveau-Brunswick, au Conseil des arts du Nouveau-Brunswick, au Museum London, à la Tom Thomson Memorial Art Gallery, à la Commonwealth Association of Museums, à l’Art Gallery of Alberta et à la Kelowna Art Gallery. Laura est l’une des co-organisatrices de la récente exposition itinérante \u003ci\u003eLes lieux de plaisance de Sarah Maloney\u003c\/i\u003e et a dirigé la préparation du catalogue qui l’accompagnait.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e120 pages\u003cbr\u003ePub date: June 23, 2026\u003cbr\u003e","brand":"Ray Cronin \u0026 Laura J. Ritchie","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9781773104874\u0026nbsp;\u0026nbsp;$45","offer_id":47284666335471,"sku":"9781773104874","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781773104874_FC.jpg?v=1781167267"},{"product_id":"colleen-wolstenholme","title":"Colleen Wolstenholme","description":"\u003cp\u003e“Colleen Wolstenholme’s work is cerebral and direct, esoteric and popular, easy to look at and hard to forget.” — Ray Cronin \u003c\/p\u003e\u003cp\u003e\u003ci\u003eColleen Wolstenholme: Hyperobjectivity\u003c\/i\u003e showcases Wolstenholme’s painting, sculpture, and installations from a career spanning more than thirty years. Taking its name from the idea of the hyperobject — an idea so vast as to exceed ordinary human perception — \u003ci\u003eColleen Wolstenholme: Hyperobjectivity\u003c\/i\u003e investigates how we navigate and are shaped by entities such as the weather, capitalism, or even the deep sea. From her copper and sterling silver casts of anti-anxiety medications such as Prozac, Zoloft, Paxil, and Valium to her paintings of deep sea life in acrylic and oil, Wolstenholme’s work approaches both the recognizable and, in the words of Laura J. Ritchie, “onceunknowable beings.” Wolstenholme’s art travels widely across genres and styles from representa tional paintings and wearable art to abstraction and large-scale installations. Resisting categorization, her work is fiercely intelligent and often in dialogue with contemporary experience. \u003c\/p\u003e\u003cp\u003e \u003ci\u003eColleen Wolstenholme: Hyperobjectivity\u003c\/i\u003e will be published to coincide with a major retrospective exhibition organized by the Beaverbrook Art Gallery. The book features more than 75 works by the artist as well as two provocative essays by curators Ray Cronin and Laura J. Ritchie. \u003c\/p\u003e\u003cp\u003eColleen Wolstenholme works across the mediums of jewellery, painting, sculpture, embroidery, and multimedia installation. She received a BFA in sculpture from NSCAD and an MFA focusing on jewellery from the State University of New York at New Paltz. She first attracted attention when she toured with Sarah McLachlan’s Lilith Fair, selling her pill jewellery. Since then, her work has been exhibited in galleries across Canada, as well as in London, UK, and New York, and is held in numerous collections including those of  the National Gallery of Canada and Montreal Museum of Fine Arts. Born in Nova Scotia, Wolstenholme has lived in Halifax, New York, and Vancouver and is currently Associate Professor of Visual Art at St. Thomas University, Fredericton. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eRay Cronin is a writer, curator, and Director of Exhibitions, Collections and Curatorial Initiatives at the Beaverbrook Art Gallery. From 2001 to 2015 he worked at the Art Gallery of Nova Scotia as Curator and as Director and CEO.  Cronin is a graduate of the Nova Scotia College of Art and Design, the University of Windsor, and the Getty Museum Leadership Institute. In 2025 he was named a Fellow of the New Brunswick College of Craft and Design. He is the founding curator of the Sobey Art Award and the author of fifteen books on Canadian art.\u003cbr\u003e\u003cbr\u003eLaura J. Ritchie is the Director of Institutional Advancement at the Beaverbrook Art Gallery. Previously an independent curator and art consultant, she is a fellow of the Getty Leadership Institute and a Mt. Allison and Western University alumna. Former Director of MSVU Art Gallery in Halifax, Laura has worked in collections, exhibitions, and administration with the New Brunswick Museum, New Brunswick Crafts Council, New Brunswick Arts Board, Museum London, Tom Thomson Memorial Art Gallery, the Commonwealth Association of Museums, Art Gallery of Alberta, and Kelowna Art Gallery. Laura recently co-curated the touring exhibition and edited the publication \u003ci\u003eSarah Maloney’s Pleasure Ground: A Feminist Take on the Natural World.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e120 pages\u003cbr\u003ePub date: June 23, 2026\u003cbr\u003e","brand":"Ray Cronin \u0026 Laura J. Ritchie","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9781773104546\u0026nbsp;\u0026nbsp;$45","offer_id":47284666368239,"sku":"9781773104546","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781773104546_FC.jpg?v=1781167282"},{"product_id":"jennifer-marman-and-daniel-borins","title":"Jennifer Marman and Daniel Borins","description":"\u003cp\u003e\u003ci\u003eJennifer Marman and Daniel Borins: Three Dimensions\u003c\/i\u003e showcases the multidisciplinary art practice of Jennifer Marman and Daniel Borins, combining painting, sculpture, kinetics, interactivity, virtual reality, and video. \u003c\/p\u003e\u003cp\u003eThe installations in \u003ci\u003eJennifer Marman and Daniel Borins: Three Dimensions\u003c\/i\u003eblend conceptual, interactive experiences. Together, they explore themes of authenticity, agency, and the digital age through performativity and interactivity. They reference both high and popular culture, blending science fiction, politics, and current events in a pop-minimalist setting. For Marman and Borins, the aim is to disrupt traditional notions of reality — whether authentic or synthetic — and present dimensions that challenge the viewer’s perception, blurring the line between “audience” and “participant.” \u003c\/p\u003e\u003cp\u003eIn this visually rich publication, essays by curators Kanika Anand, Ray Cronin, David Diviney, and Philip Monk accompany a rich panoply of the installations and their individual components in situ, prompting contemplation about visual language, mass media, consumerism, and the ways that images circulate in the information age. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eKanika Anand is Senior Curator at Contemporary Calgary and co-curator of the Indian Ceramics Triennale. She has worked extensively with galleries and institutions across North America, France, and India.\u003cbr\u003e\u003cbr\u003eRay Cronin is a writer, curator, and Director of Exhibitions, Collections and Curatorial Initiatives at the Beaverbrook Art Gallery. From 2001 to 2015 he worked at the Art Gallery of Nova Scotia as Curator and as Director and CEO.  Cronin is a graduate of the Nova Scotia College of Art and Design, the University of Windsor, and the Getty Museum Leadership Institute. In 2025 he was named a Fellow of the New Brunswick College of Craft and Design. He is the founding curator of the Sobey Art Award and the author of fifteen books on Canadian art.\u003cbr\u003e\u003cbr\u003eDavid Diviney is the Chief Curator at the Art Gallery of Nova Scotia. His interest in the expanded histories and legacies of conceptual art has led to several exhibitions, such as \u003ci\u003eDavid Askevold: Once Upon a Time in the East\u003c\/i\u003e (2011), \u003ci\u003eThe Last Art College: Nova Scotia College of Art and Design, 1968–1978\u003c\/i\u003e (2016), and \u003ci\u003eTeresa Hubbard \/ Alexander Birchler: No More Boring Art\u003c\/i\u003e (2025). His writing on the art of the 1960s and ‘70s, contemporary art, and visual culture has been published widely in journals and catalogues.\u003cbr\u003e\u003cbr\u003ePhilip Monk, former Director of the Art Gallery of York University in Toronto, has written fourteen books over his career, as well as scores of articles, reviews, and essays, plus dozens of catalogues on international and Canadian artists. Dedicated to setting in place the theoretical conditions for writing the history of contemporary Canadian Art, and of Toronto in particular, Monk’s writing set the terms of debate on art in Canada for decades. His most recent book, \u003ci\u003eIs Toronto Burning?\u003c\/i\u003e is a history of the conflicted creation of Toronto’s downtown art scene in the late 1970s.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e168 pages\u003cbr\u003ePub date: July 14, 2026\u003cbr\u003e","brand":"Kanika Anand, Ray Cronin, David Diviney, Philip Monk","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9781069130532\u0026nbsp;\u0026nbsp;$55","offer_id":47797195145455,"sku":"9781069130532","price":55.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781069130532_FC.jpg?v=1778748665"},{"product_id":"camille-turner","title":"Camille Turner","description":"\u003cp\u003e“Blackness has been systematically ‘disappeared’ from the Canadian nation. . . . I explore various mechanisms through which this disappearance has been achieved, ranging from historical omissions to social exclusion as well as literally burying evidence of Canada’s Black past.” — Camille Turner \u003c\/p\u003e\u003cp\u003e\u003ci\u003eCamille Turner: Hometown Queen\u003c\/i\u003e offers the first in-depth retrospective of Turner’s nearly 30-year career. Born in Jamaica and raised in Hamilton, Ontario, Turner has developed a formidable body of work in performance, installation, photography, video, and sculpture. Her practice powerfully addresses racial and social politics, offering a critical analysis of the enduring systems of injustice, confronting histories marked by erasure, deliberate burying, and systemic silencing while actively forging a hopeful path forward. Turner’s art creates spaces of contemplation and imaginative possibility, inviting reflection on what might emerge — for herself, for her father and family, and for generations still to come. \u003c\/p\u003e\u003cp\u003eThis handsome volume contains over 70 images of Turner’s work and essays by artists, curators, and scholars. The works featured range from foundational works such as the eponymous \u003ci\u003eHometown Queen\u003c\/i\u003e and \u003ci\u003eMiss Canadiana\u003c\/i\u003e to recent large-scale video installations, including \u003ci\u003eWorthy\u003c\/i\u003e, a new immersive multi-media installation that explores her father’s childhood experience of growing up on the grounds of one of Jamaica’s most profitable businesses, formerly a slave plantation. \u003c\/p\u003e\u003cp\u003eCamille Turner is an artist and scholar whose practice spans a variety of media, including social practice, performance, video, photography, installation, and sculpture. Grounded in Afrofuturism and historical research, she reimagines colonial archives and confronts the entanglement of what is now Canada in the transatlantic trade of Africans, envisioning liberated futures shaped by Black knowledge, memory, and imagination. \u003c\/p\u003e\u003cp\u003eBorn in Jamaica in 1960, Turner was raised in Hamilton and currently lives and works in Los Angeles. She was the Provost’s Postdoctoral Research Fellow at the University of Toronto and completed a PhD at York University with a research-creation project closely connected to her artistic practice. In 2025, Turner was featured in the São Paulo Biennial and was Artist-in-Residence at the Fine Arts Center of University of Massachusetts Amherst in partnership with Slavery North. \u003c\/p\u003e\u003cp\u003eTurner has held solo and group exhibitions nationally and internationally and is the recipient of the 2025 Exhibition of the Year award for \u003ci\u003eOtherworld\u003c\/i\u003e (Art Museum at the University of Toronto) from Galeries Ontario \/ Ontario Galleries (GOG) and the 2022 Artist Prize from the Toronto Biennial of Art. Her work is held in major public and private collections, including the National Gallery of Canada, Art Gallery of Hamilton, Art Gallery of Nova Scotia, Art Museum at the University of Toronto, Canada Council Art Bank, Royal Bank of Canada, Museum London, McMichael Canadian Art Collection, Wedge Collection, and The Rooms. She is represented in Canada by Central Art Garage. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eMelissa Bennett is Senior Curator of Contemporary Art at the Art Gallery of Hamilton, Ontario. Her recent curatorial work includes the internationally touring retrospective \u003ci\u003eShelley Niro: 500 Year Itch\u003c\/i\u003e. She has written or edited more than fifteen exhibition catalogues and has received multiple awards from Galeries Ontario\/Ontario Galleries (GOG). Most recently, her work on \u003ci\u003eShelley Niro: 500 Year Itch\u003c\/i\u003e earned the 2024 awards for Exhibition of the Year, Art Publication, and Major Curatorial Writing.\u003cbr\u003e\u003cbr\u003eDavid Diviney is the Chief Curator at the Art Gallery of Nova Scotia. His interest in the expanded histories and legacies of conceptual art has led to several exhibitions, such as \u003ci\u003eDavid Askevold: Once Upon a Time in the East\u003c\/i\u003e (2011), \u003ci\u003eThe Last Art College: Nova Scotia College of Art and Design, 1968–1978\u003c\/i\u003e (2016), and \u003ci\u003eTeresa Hubbard \/ Alexander Birchler: No More Boring Art\u003c\/i\u003e (2025). His writing on the art of the 1960s and ‘70s, contemporary art, and visual culture has been published widely in journals and catalogues.\u003cbr\u003e\u003cbr\u003eBorn in Mumbai, Srimoyee Mitra began her career as an arts writer in India for publications such as \u003ci\u003eArt India\u003c\/i\u003e and \u003ci\u003eTime Out Mumbai\u003c\/i\u003e before moving to Canada in 2008 to pursue an MA in art history at York University. She became Curator of Contemporary Art at the Art Gallery of Windsor in 2011, where she developed an award winning exhibition program, including the celebrated \u003ci\u003eWafaa Bilal: 168:01\u003c\/i\u003e Her writing has appeared  in numerous catalogues and journals and in her books, \u003ci\u003eBorder Cultures\u003c\/i\u003e (2015), \u003ci\u003eHeidi Kumao\u003c\/i\u003e (2021), and \u003ci\u003eStephanie Dinkins: On Love \u0026amp; Data\u003c\/i\u003e (2024). 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His meticulous, textured pen and ink illustrations — drawn on everything from cupboard doors and scraps of paper to “Royal Chinet” paper plates — capture his responses to the experience growing up in rural Nova Scotia. For over 50 years, he depicted scenes from his Depression-era childhood, everyday life in a rural community in early twentieth century Nova Scotia, and people at work – picking apples, digging clams, gathering wood, or farming. \u003c\/p\u003e\u003cp\u003eCromwell’s monochromatic ballpoint pen drawings stand in stark contrast to some of the more famous names in Nova Scotian folk art. Ranging from richly rendered landscapes to social scenes full of sometimes comic detail, his drawings tell “real stories” about rural life in Black Nova Scotia and the cultural, economic, and technological shifts that he experienced during his lifetime. \u003c\/p\u003e\u003cp\u003eHarold Cromwell (1919-2008), descended from Black Loyalists who settled in Weymouth Falls in 1783, worked from a young age at his uncle’s farm and later at the Goodwin Hotel. During WWII, he served in England supporting soldiers with combat fatigue. While he was recovering from wounds at Debert Military Hospital, nurses gave him drawing materials, sparking a lifelong passion. Working primarily with the humble materials of pencil and ball-point pen on plain white paper or wood, Cromwell was neither a painter nor a carver. For over 50 years, Cromwell, through his drawings, depicted memories, stories, and anecdotes of daily life, especially in the African Nova Scotian community of Weymouth Falls; his art looked back to an idealized Nova Scotian past, one of close-knit community and family life. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eFabiyino Germain-Bajowa (she\/her) is a Nigerian-Canadian writer, curator, and interdisciplinary artist from Thadinadonnih (Guelph), now based in Kjipuktuk (Halifax). With a focus on community-based art, her work often explores Afro-diasporic archives of thought inherited through oral history, food traditions, and acts of care. By centering the lived experiences of Black artists, she engages land-based networks of knowledge to build cultural literacy and uplift contemporary Black artistic practices. She earned her BFA in Criticism and Curatorial Practice from OCAD University and has curated programs such as \u003ci\u003eTell the Body\u003c\/i\u003e (Vtape, Toronto), \u003ci\u003eThe Suppa Club\u003c\/i\u003e (with Temple Marucci-Campbell, Toronto), \u003ci\u003eDown Home\u003c\/i\u003e (Dalhousie Art Gallery, 2025), and \u003ci\u003eBlacklight\u003c\/i\u003e (Art Gallery of Nova Scotia, 2025). Currently, she is the TD Curatorial Fellow at the Art Gallery of Nova Scotia.\u003cbr\u003e\u003cbr\u003eLiving and working in Mi’kma’ki, Michael McCormack is an Assistant Curator at the Art Gallery of Nova Scotia. His curatorial practice is rooted in a deep interest in alternative and unconventional exhibition spaces and is informed by his practice as an intermedia artist. McCormack has written for publications and worked with institutions across Canada, including Eyelevel Gallery, Nocturne: Art at Night, Flotilla Atlantic, the Klondike Institute of Art and Culture, and Visual Arts News. He occasionally works as a mentor and sessional instructor through NSCAD University, Visual Arts Nova Scotia, Centre for Art Tapes and the Klondike Institute of Art and Culture.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e96 pages\u003cbr\u003ePub date: June 2, 2026\u003cbr\u003e","brand":"Fabiyino Germain-Bajowa \u0026 Michael McCormack","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9781774488102\u0026nbsp;\u0026nbsp;$35","offer_id":47797199765743,"sku":"9781774488102","price":35.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781774488102_FC.jpg?v=1781167309"}],"url":"https:\/\/gooselane.com\/collections\/agns.oembed","provider":"Goose Lane Editions","version":"1.0","type":"link"}