Newest edition published: June 27, 2017
Non-Fiction / Art & Architecture
Paperback: 9780864928962 $39.95
Hardcover: 9780864920171 $45.00
Published by Goose Lane Editions with Art Gallery of Ontario and National Gallery of Canada
"Andrew Hunter has looked with fresh eyes at [Colville's] paintings and made a coherent argument that Colville deserves to be understood far beyond the normal borders of the art world." — Robert Fulford, The National Post
This magnificent, best-selling volume is now available in a deluxe paper-bound edition. The original hardcover edition sold more than 15,000 copies.
In this beautifully designed volume, Andrew Hunter organizes Colville thematically, incorporating interludes that explore the relationship between Colville's work and the filmmaking of Wes Anderson, Stanley Kubrick, and Sarah Polley, as well as his influence on writers such as Alice Munro and even cartoonist David Collier. The book is rounded out with more than 100 colour reproductions of Colville's paintings, spanning the entirety of his career, including Horse and Train, 1953; To Prince Edward Island, 1965; Woman in Bathtub, 1973; and Target Pistol and Man, 1980.
Andrew Hunter is a freelance curator, artist, writer, and educator. Hunter was previously the Frederik S. Eaton Curator of Canadian Art at the Art Gallery of Ontario, where he produced major exhibitions and publications including Every Now Then: Reframing Nationhood, In the Ward: Lawren Harris, Toronto & the Idea of North, and Colville.
Born in Hamilton and a graduate of the Nova Scotia College of Art & Design, Hunter has held curatorial positions across Canada, including at the Vancouver Art Gallery and the Art Gallery of Hamilton. He has taught at the Ontario College of Art and Design University and the University of Waterloo and lectured on curatorial practice across Canada, the United States, England, China, and Croatia. He is a member of the advisory board for the Institute for the Study of Canadian Slavery at NSCAD.
"Splendid. ... show[s] the continued relevance of Colville’s imagery — characterised as it is by edginess, unease, and a tension between specificity and universality — to contemporary society." — British Journal of Canadian Studies