{"title":"Beaverbrook Art Gallery","description":"","products":[{"product_id":"masterworks-from-the-beaverbrook-art-gallery","title":"Masterworks from the Beaverbrook Art Gallery","description":"\u003cp\u003e\u003cb\u003eFinalist, Best Atlantic Published Book Award \u003cbr\u003eFinalist, Canadian Regional Design Award\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eA major publication comprising 240 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition \u003ci\u003eMasterworks from the Beaverbrook Art Gallery\u003c\/i\u003e. \u003c\/p\u003eAlong with a complete catalogue of artworks, it features an overview and history of the historic collection, along with curatorial commentary on each work of art by the Beaverbrook Art Gallery's Curator and Deputy Director, and curator of the exhibition, Terry Graff. Further, it includes important essays by five internationally respected art historians, scholars, and curators, Elliot King, James Hamilton, Richard Calvocoressi, Angus Stewart, and Katharine Eustace, that focus on several key works of art. \u003cp\u003eIn addition, Bernard Riordon, Director and CEO of the Beaverbrook Art Gallery, provides a foreword and timely essay documenting the recently resolved legal battle with the Beaverbrook Foundation (UK) over ownership of several works. Elliot King, art historian and leading specialist on the work of Salvador Dalí and curator of the recent exhibition \u003ci\u003eDalí: The Late Work\u003c\/i\u003e at the High Museum of Art, examines Dalí's monumental painting \u003ci\u003eSantiago El Grande\u003c\/i\u003e. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's \u003ci\u003eFountain of Indolence\u003c\/i\u003e. Richard Calvocoressi, Director of the Henry Moore Foundation and former Director of the Scottish National Gallery of Modern Art in Edinburgh, provides special insight into Lucien Freud's \u003ci\u003eHotel Bedroom\u003c\/i\u003e. Angus Stewart, independent curator known for his many exhibitions at the Olympia London fine art and antiques fair, including the major 2003 project that marked the centenary of artist Graham Sutherland's birth, examines important Sutherland works, such as \u003ci\u003eHelena Rubinstein, Studies for Churchill\u003c\/i\u003e, and \u003ci\u003ePortrait of Lord Beaverbrook\u003c\/i\u003e. Katharine Eustace, art historian and curator, whose publications include \u003ci\u003eContinuity and Change: Twentieth Century Sculpture in the Ashmolean Museum\u003c\/i\u003e, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as \u003ci\u003eH.M. King Edward VIII\u003c\/i\u003e. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eTerry Graff is a visual artist, curator, and writer. He has served as Director and Chief Curator of the Beaverbrook Art Gallery in Fredericton and the Mendel Art Gallery in Saskatoon. His art work has toured internationally and is included in many private and public collections.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eAwards\u003c\/h3\u003eShortlisted: APMA Best Atlantic-Published Book Award\u003cbr\u003eShortlisted: Canadian Regional Design Award\u003cbr\u003e\u003ch3\u003eReviews\u003c\/h3\u003e\"\u003ci\u003eMasterworks\u003c\/i\u003e is a long overdue tribute to the incredible range and depth of Lord Beaverbrook's collection, amassed over his lifetime in England and worldwide.\" — \u003ci\u003eVie des Arts\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e240 pages\u003cbr\u003ePub date: February 19, 2013\u003cbr\u003e","brand":"Terry Graff","offers":[{"title":"Hardcover (Slightly Damaged Copies Only) 9780864926425 $65","offer_id":31759762830,"sku":"9780864926425","price":32.5,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/918.jpg?v=1772703173"},{"product_id":"masterworks-from-the-beaverbrook-art-gallery-special-edition","title":"Masterworks from the Beaverbrook Art Gallery (Special edition)","description":"\u003ch3\u003eAbout\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eShortlisted, Best Atlantic Published Book Award and Canadian Regional Design Award\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eA major publication comprising 240 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition \u003ci\u003eMasterworks from the Beaverbrook Art Gallery\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eAlong with a complete catalogue of artworks, it features an overview and history of the historic collection, along with curatorial commentary on each work of art by the Beaverbrook Art Gallery's Curator and Deputy Director, and curator of the exhibition, Terry Graff. Further, it includes important essays by five internationally respected art historians, scholars, and curators, Elliot King, James Hamilton, Richard Calvocoressi, Angus Stewart, and Katharine Eustace, that focus on several key works of art.\u003c\/p\u003e\u003cp\u003eIn addition, Bernard Riordon, Director and CEO of the Beaverbrook Art Gallery, provides a foreword and timely essay documenting the recently resolved legal battle with the Beaverbrook Foundation (UK) over ownership of several works. Elliot King, art historian and leading specialist on the work of Salvador Dalí and curator of the recent exhibition \u003ci\u003eDalí: The Late Work at the High Museum of Art\u003c\/i\u003e, examines Dalí's monumental painting \u003ci\u003eSantiago El Grande\u003c\/i\u003e. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's \u003ci\u003eFountain of Indolence\u003c\/i\u003e. Richard Calvocoressi, Director of the Henry Moore Foundation and former Director of the Scottish National Gallery of Modern Art in Edinburgh, provides special insight into Lucien Freud's \u003ci\u003eHotel Bedroom\u003c\/i\u003e. Angus Stewart, independent curator known for his many exhibitions at the Olympia London fine art and antiques fair, including the major 2003 project that marked the centenary of artist Graham Sutherland's birth, examines important Sutherland works, such as \u003ci\u003eHelena Rubinstein, Studies for Churchill\u003c\/i\u003e, and \u003ci\u003ePortrait of Lord Beaverbrook\u003c\/i\u003e. Katharine Eustace, art historian and curator, whose publications include \u003ci\u003eContinuity and Change: Twentieth Century Sculpture in the Ashmolean Museum\u003c\/i\u003e, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as \u003ci\u003eH.M. King Edward VIII\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eProof copies of 200-copy special edition of \u003ci\u003eMasterworks of Beaverbrook Art Gallery\u003c\/i\u003e. These proof copies (of which there are only 12) are presented in an an embossed paper-covered slipcase. Each copy includes is signed by the Director and Director Emeritus of the Beaverbrook Art Gallery. Sewn-bound with marbled endpapers, a marker ribbon, and including an artist proof of a limited edition of a portrait of \u003ci\u003eLord Beaverbrook\u003c\/i\u003e by Graham Sutherland, this edition is designed as a keepsake for future generations.\u003c\/p\u003e\n\u003ch3\u003eAuthor\u003c\/h3\u003e\nTerry Graff is an accomplished visual artist, the recipient of major public sculpture commissions, and the first recipient of the Christina Sabat Award for Art Criticism in Atlantic Canada, sponsored by the Sheila Hugh MacKay Foundation. His work has been featured in numerous one-person and group exhibitions, and is included in many public and private collections across the country. Currently serving as curator and deputy director at the Beaverbrook Art Gallery, his extensive career in the visual arts includes holding the position of executive director of three public art galleries in three different provinces of Canada: the Mendel Art Gallery, Saskatoon, Saskatchewan; Rodman Hall Arts Centre, St. Catharines, Ontario; and Confederation Centre Art Gallery \u0026amp; Museum, Charlottetown, PEI.\u003cbr\u003e\u003cbr\u003e\n\u003ch3\u003eDetails\u003c\/h3\u003e\n240 pages\u003cbr\u003ePub date: February 19, 2013","brand":"Terry Graff","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9780864924216\u0026nbsp;\u0026nbsp;$250.00","offer_id":31760365006,"sku":"9780864924216","price":250.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/products\/9780864924216_FC.jpg?v=1506530879"},{"product_id":"lucy-jarvis","title":"Lucy Jarvis","description":"\u003cp\u003e\u003cb\u003eWinner, Best Atlantic Published Book Award\u003cbr\u003eShortlisted, New Brunswick Book Award for Non-Fiction\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eWriting early in 1962, Lucy Jarvis said she felt \"just at the threshold of beginning.\" Jarvis had studied at the School of the Museum of Fine Arts in the 1920s, later becoming part of the social realist movement, committed to an art \"of the people\".\u003c\/p\u003e \u003cp\u003eIn 1941, Jarvis co-founded the UNB Art Centre with Pegi Nicol MacLeod, and together, they turned it into a place of creative effervescence. Passionate and single-minded, Jarvis threw herself into everything that she did and the results were nothing short of astounding. In a few short years, she and MacLeod had transformed their environment.\u003c\/p\u003e \u003cp\u003eYet, it wasn't until the early 1960s that the unstoppable Jarvis set out on her own. She left the art centre and headed for Paris. In four extended stays during the 1960s, she immersed herself completely, living in French, attending the open studios, and connecting with other artists.\u003c\/p\u003e \u003cp\u003eHer retreats to Pembroke Dyke near Yarmouth, Nova Scotia, during the summer months allowed her to digest her experiences, and her art took on new life. The influences of both impressionism and post-impressionism emerged in her work, and her paintings became more boldly colourful, freer — more completely her own.\u003c\/p\u003e \u003cp\u003e\u003ci\u003eLucy Jarvis: Even Stones Have Life\u003c\/i\u003e is the first examination of Jarvis's considerable body of work — what she painted, how she rendered it, and how her art permeated her life and her life permeated her art.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eRoslyn Rosenfeld taught art history for a dozen years at the Saint John and Fredericton campuses of the University of New Brunswick. She has published reviews in \u003ci\u003eFuse\u003c\/i\u003e and over forty reviews and features in \u003ci\u003eArtsAtlantic\u003c\/i\u003e. She has also curated or written essays for eighteen exhibitions.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eAwards\u003c\/h3\u003eWinner: Best Atlantic Published Book Award\u003cbr\u003eShortlisted: New Brunswick Book Award for Non-Fiction\u003cbr\u003e\u003ch3\u003eReviews\u003c\/h3\u003e\"Jarvis’s willingness to push her art, to seek out new experiences and challenges even well into her 80s, is inspirational. Her full-hearted embrace of life, and of its often stony paths, is perhaps the thing one takes awake most clearly from Rosenfeld’s book.\" — \u003ci\u003eAtlantic Books Today\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\"There are those rare, impressive individuals who give both time and passion to encouraging society’s appreciation of the arts. Lucy Jarvis was one such person. Author Roslyn Rosenfeld’s smooth, readable prose perfectly accompanies Jarvis’ luminous art pieces, which imbue their subjects with intensity and a rugged, tangible presence.\" — \u003ci\u003eScene\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e246 pages\u003cbr\u003ePub date: March 8, 2016\u003cbr\u003e","brand":"Roslyn Rosenfeld","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9780864928924\u0026nbsp;\u0026nbsp;$45","offer_id":31760529294,"sku":"9780864928924","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/1297.jpg?v=1778746835"},{"product_id":"chefs-doeuvre-de-la-galerie-dart-beaverbrook-french","title":"Chefs-d'oeuvre de la Galerie d'art Beaverbrook (French)","description":"\u003cp\u003eLes collections d'œuvres d'art racontent des histoires qui reflètent les intérêts du collectionneur et de son époque. Chefs-d'œuvre de la Galerie d'art Beaverbrook relate la vie rocambolesque de sir William Maxwell (Max) Aitken, aussi connu sous le nom de lord Beaverbrook, magnat de la presse multimillionnaire, éditeur de journaux arrogant, habile politicien, maître de la propagande, auteur et grand philanthrope.\u003c\/p\u003e\u003cp\u003eEn 1959, sir Max Aitken inaugure à Fredericton, au Nouveau-Brunswick, la Galerie d'art Beaverbrook pour abriter une collection exemplaire de tableaux. Constitué par lord Beaverbrook lui-même et son entourage de conservateurs et de collègues, ce noyau initial d'œuvres deviendra l'une des plus belles et des plus importantes collections d'art britannique en Amérique du Nord. Il comprend notamment des œuvres de J.M.W. Turner, Lucian Freud, Graham Sutherland et Walter Sickert, ainsi que des tableaux représentatifs de Thomas Gainsborough, John Constable, John Singleton Copley, Eugène Delacroix, Joshua Reynolds et Salvador Dalí, qui témoignent du caractère distinctif et de la qualité de la remarquable collection de la Galerie.\u003c\/p\u003e\u003cp\u003eCes œuvres importantes sont réunies pour la première fois dans cette publication luxueuse comprenant plus de 75 reproductions en couleur, ainsi que des essais sur l'histoire de la collection et les chefs-d'œuvre, signés par six critiques renommés?: Elliott H. King, historien de l'art et spécialiste de Dalí James Hamilton, auteur de \u003ci\u003eTurner: A Life\u003c\/i\u003e; Richard Calvocoressi, directeur de la fondation Henry Moore; l'auteur et conservateur Angus Stewart; l'historienne de l'art Katharine Eustace; ainsi que Terry Graff, conservateur de la Galerie d'art Beaverbrook et principal auteur de cet ouvrage.\u003c\/p\u003e\u003cp\u003ePour clore l'ouvrage, le journaliste Marty Klinkenberg et le directeur général de la Galerie d'art Beaverbrook, Bernard Riordon, retracent les péripéties du différend opposant le musée et les deux fondations Beaverbrook.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eTerry Graff est un artiste visuel, conservateur et écrivain. Il a été directeur et conservateur en chef de la Beaverbrook Art Gallery de Fredericton et de la Mendel Art Gallery de Saskatoon. Ses œuvres ont fait des tournées internationales et figurent dans de nombreuses collections privées et publiques.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eAwards\u003c\/h3\u003eShortlisted: Canadian Regional Design Awards\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e242 pages\u003cbr\u003ePub date: February 19, 2013\u003cbr\u003e","brand":"Terry Graff","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9780864926654\u0026nbsp;\u0026nbsp;$65","offer_id":36967733134,"sku":"9780864926654","price":65.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/926.jpg?v=1780473623"},{"product_id":"marlene-creates","title":"Marlene Creates","description":"\u003cp\u003e\"... I was able to make a simple gesture which left no permanent mark on the land.\"\u003c\/p\u003e\u003cp\u003eIn 1979 Marlene Creates signaled her intent. In contrast to the monumental earthworks of that time, she revealed that her interest in the intersection of art and the natural world was with the ephemeral, the small scale, and the non-monumental, and with \u003ci\u003eplace\u003c\/i\u003e, \"not as a geographical location,\" she writes, \"but as a \u003ci\u003eprocess\u003c\/i\u003e that involves memory, multiple narratives, ecology, language, and both scientific and vernacular knowledge.\" Supplementing the impermanence of her artistic gestures with the technology of photography, Creates found an audience and created a body of work without peer.\u003c\/p\u003e\u003cp\u003eCreates has sensitvely probed the relationship between human experience and the natural world for almost four decades. From her early works that record traces of the human body on the land to her later explorations of poetry \u003ci\u003ein situ\u003c\/i\u003e in the boreal forest and photography as an active medium — where the rush of water over the lens transforms the artist's own image — Creates leads us with an environmental and cultural consciousness to a greater understanding of the language of the natural world and our \"places\" in it.\u003c\/p\u003e\u003cp\u003eIt is no easy task to sum up, in a single book, a career that privileges the act over the artifact, the moment over the monument.  But under the direction of curator-critics Susan Gibson Garvey and Andrea Kunard, \u003ci\u003eMarlene Creates: Places, Paths, and Pauses\u003c\/i\u003e offers not only a broad view of her work in photography but also a critical appreciation of her multi-disciplinary approach (assemblages, memory-map drawings, and video-poems) through essays by Gibson Garvey and Kunard, art historian Joan M. Schwartz, nature writer Robert Macfarlane, and poet Don McKay.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMarlene Creates: Places, Paths, and Pauses\u003c\/i\u003e accompanies a major retrospective touring exhibition organized by the Beaverbrook Art Gallery in partnership with the Dalhousie Art Gallery. It will open in Fredericton in September 2017 and thereafter will be shown at galleries in Halifax, Charlottetown, St. John's, and other venues in central and western Canada.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eFor over forty years, Susan Gibson Garvey has been active in the Canadian visual arts community as an artist, educator, critic, curator, and gallery director. She was the Curator and later the director of the Dalhousie Art Gallery from 1990 to 2007.\u003cbr\u003e\u003cbr\u003eAndrea Kunard taught for over a decade at Carleton University, Queen's University and Nova Scotia College of Art \u0026amp; Design University. As associate curator at the National Gallery of Canada, Kunard explores the intersections of contemporary and historical issues in Canadian photography, focusing on cultural uses of the medium, and its capacity to challenge and reconfigure accepted understandings of the public and private, subjectivity, memory, and knowledge.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eAwards\u003c\/h3\u003eWinner: Governer General's Award for Visual Arts and Media\u003cbr\u003e: Melva J. Dwyer Award\u003cbr\u003e\u003ch3\u003eReviews\u003c\/h3\u003e\"This is the sort of book that will repay repeat reading and most especially repeat \u003ci\u003eviewing\u003c\/i\u003e of the unique images that comprise its bulk.\" — \u003ci\u003eAtlantic Books Today\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\"Creates’ ‘places’ are open to poetic, scientific, amazing paths.\" — \u003ci\u003eThe Telegram\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\"As a whole the images, commentary and essays of \u003ci\u003eMarlene Creates: Places, Paths, and Pauses\u003c\/i\u003e create a richly woven tapestry that enable the reader to gain insight and understanding into Creates’ ‘discreet’ oeuvre; an oeuvre that I am pleased to have encountered and feel deserves greater recognition.\" — Eco Art Scotland\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e204 pages\u003cbr\u003ePub date: September 5, 2017\u003cbr\u003e","brand":"Susan Gibson Garvey, Andrea Kunard","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9780864929976\u0026nbsp;\u0026nbsp;$50","offer_id":46020220616943,"sku":"9780864929976","price":50.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9780864929976_FC.jpg?v=1778747127"},{"product_id":"nekt-wikuhpon-ehpit-english-french","title":"Nekt wikuhpon ehpit (English\/French)","description":"\u003cp\u003e\u003cb\u003eNo present without the past. No equality without feminism.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eNekt wikuhpon ehpit\u003c\/i\u003e chronicles the sources, inspiration, and personal circumstances that have shaped Shirley Bear’s visual art, poetry, and political activism and presents the integral relationship amongst these important activities in her life.\u003c\/p\u003e\u003cp\u003eCountering the invisible silent status ascribed to Indigenous women by patriarchal history and convention, Bear’s primary focus has been the recovery of the feminine role in the ancestral life of First Nations culture.  Featuring more than 30 reproductions of her work with essays by Terry Graff, Susan Crean, and Carol Taylor, \u003ci\u003eNekt wikuhpon ehpit\u003c\/i\u003e both depicts and examines the essential feminine imagery of Bear’s work in their symbolic, archetypal, or representative forms.\u003c\/p\u003e\u003cp\u003eShirley Bear’s work has been featured in exhibitions throughout Canada, the United States, and Europe. Her writing has been featured in several anthologies, including \u003ci\u003eKelusultiek: Original Women’s Voices of Atlantic Canada\u003c\/i\u003e and \u003ci\u003eThe Colour of Resistance\u003c\/i\u003e. She received the New Brunswick Excellence in the Arts Award in 2002.\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePas de présent sans le passé. Pas d'égalité sans féminisme.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eNekt wikuhpon ehpit\u003c\/i\u003e rassemble les sources, l'inspiration et les circonstances personnelles qui ont façonné l'art visuel, la poésie et l'activisme politique de Shirley Bear et les présente la relation intégrale entre ces activités importantes dans sa vie.\u003c\/p\u003e\u003cp\u003eContre le statut de silence invisible attribué aux femmes autochtones par l’histoire et les conventions patriarcales, Bear se concentre principalement sur le rétablissement du rôle féminin dans la vie ancestrale de la culture des Premières Nations. Avec plus de 30 reproductions de son travail avec des essais de Terry Graff, Susan Crean et Carol Taylor, \u003ci\u003eNekt wikuhpon ehpit\u003c\/i\u003e dépeint l'imagerie féminine essentielle du travail de Bear sous leurs formes symboliques, archétypales ou représentatives.\u003c\/p\u003e\u003cp\u003eLe travail de Shirley Bear a été présenté dans des expositions au Canada, aux États-Unis et en Europe. Ses écrits ont été présentés dans plusieurs anthologies, notamment \u003ci\u003eKelusultiek: Original Women’s Voices of Atlantic Canada\u003c\/i\u003e et \u003ci\u003eThe Color of Resistance\u003c\/i\u003e. Elle a reçu le Prix d'excellence dans les arts du Nouveau-Brunswick en 2002.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eTerry Graff is a visual artist, curator, and writer. He has served as Director and Chief Curator of the Beaverbrook Art Gallery in Fredericton and the Mendel Art Gallery in Saskatoon. His art work has toured internationally and is included in many private and public collections.\u003c\/p\u003e\u003cp\u003eTerry Graff est un artiste visuel, conservateur et écrivain. Il a été directeur et conservateur en chef de la Beaverbrook Art Gallery de Fredericton et de la Mendel Art Gallery de Saskatoon. Ses œuvres ont fait des tournées internationales et figurent dans de nombreuses collections privées et publiques.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e80 pages\u003cbr\u003ePub date: June 21, 2009\u003cbr\u003e","brand":"Terry Graff","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9780920674789\u0026nbsp;\u0026nbsp;$14.95","offer_id":18898849497145,"sku":"9780920674789","price":14.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9780920674789_FC.jpg?v=1747815495"},{"product_id":"glitter-and-gloom-eclat-et-obscurite-english-french","title":"Glitter and Gloom\/Éclat et obscurité","description":"\u003cp\u003e\u003cb\u003eKashetsky documents domestic life, street life, urban landscapes, nature, and the stories of Holocaust survivors in his affecting, meditative work.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eHerzl Kashetsky’s rich, multi-layered works are deep explorations of the human condition. His meticulously rendered portraits, still lifes, and landscapes are intense explorations of identity and place.\u003c\/p\u003e\u003cp\u003eThis profusely illustrated book features more than 150 drawings selected from Kashetsky’s 119 sketchbooks, ranging from portraits to landscapes, from streetscapes to interiors, from circles to lines to words that fly through the universe. Accompanying the drawings are essays by art writer and Blake critic Allen Bentley about Kashetsky’s use of \"the bounding line\" as an aesthetic instrument for constructing and deconstructing reality, psychiatrist Ivan Silver about the artist’s lifelong work depicting human emotion through facial expression and his varied studies of the human form, and former director and curator of the Beaverbrook Art Gallery Terry Graff on Kashetsky’s self-portraits as meditations on mortality.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eKashetsky documente la vie domestique, la vie de rue, les paysages urbains, la nature et les histoires des survivants de l'Holocauste dans son travail méditant et émouvant.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eLes œuvres riches et multicouches de Herzl Kashetsky sont des explorations profondes de la condition humaine. Ses portraits, ses natures mortes et ses paysages méticuleusement rendus sont d'intenses explorations de l'identité et du lieu.\u003c\/p\u003e\u003cp\u003eCe livre abondamment illustré présente plus de 150 dessins sélectionnés parmi les 119 carnets de croquis de Kashetsky, allant des portraits aux paysages, des paysages de rue aux intérieurs, des cercles aux lignes aux mots qui volent à travers l’univers. Accompagnant les dessins sont des essais par l'écrivain d'art et critique Blake Allen Bentley sur l'utilisation par Kashetsky de \"la ligne de demarcation\" comme instrument esthétique pour construire et déconstruire la réalité, le psychiatre Ivan Silver sur le travail de l'artiste tout au long de la vie dépeignant l'émotion humaine à travers l'expression faciale et ses études variées de la forme humaine, et ancien directeur et conservateur de la Galerie d'art Beaverbrook Terry Graff sur les autoportraits de Kashetsky comme méditations sur la mortalité.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eTerry Graff is a visual artist, curator, and writer. He has served as Director and Chief Curator of the Beaverbrook Art Gallery in Fredericton and the Mendel Art Gallery in Saskatoon. His art work has toured internationally and is included in many private and public collections.\u003c\/p\u003e\u003cp\u003eTerry Graff est un artiste visuel, conservateur et écrivain. Il a été directeur et conservateur en chef de la Beaverbrook Art Gallery de Fredericton et de la Mendel Art Gallery de Saskatoon. Ses œuvres ont fait des tournées internationales et figurent dans de nombreuses collections privées et publiques.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e192 pages\u003cbr\u003ePub date: June 11, 2011\u003cbr\u003e","brand":"Terry Graff","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9780920674826\u0026nbsp;\u0026nbsp;$35","offer_id":18942796529721,"sku":"9780920674826","price":35.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9780920674826_FC.jpg?v=1781337881"},{"product_id":"ekpahak-english-french","title":"Ekpahak","description":"\u003cp\u003e\u003cb\u003ePhotography, sculpture, woven work, folk art, painting, found art, and more.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eWhen Terry Graff and Alan Syliboy decided to investigate contemporary First Nations art in New Brunswick, they set out on a road trip. They visited the Mi’kmaq Nation communities and Wolastoqey Nation communities.  The result was an exhibition and a book, a journal that captured the essence of the road trip through Graff’s words and Syliboy’s magnificent photographs.\u003c\/p\u003e\u003cp\u003eThe book captures their high-octane meeting with heavy metal musician Eric Miller; Robert Pictou’s model boats and surprising works of art; their poignant visit with John Seca Labillois, who conjured a drum from the trunk of a 600-year-old tree; Peter Augustine’s collection of antlers; the sacred site of the Sundance ceremony at Big Cove; and the story of the Brooks family’s efforts to repatriate the 200-year-old Grandfather Akwiten canoe.  \u003ci\u003eEkpahak\u003c\/i\u003e brings together a synthesis of cultural traditions and artistic practise that today serves as expressions of self-determination.\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhotographie, sculpture, travail tissé, art populaire, peinture, art trouvé, et d’autant plus.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eLorsque Terry Graff et Alan Syliboy ont décidé d'enquêter sur l'art contemporain des Premières nations au Nouveau-Brunswick, ils ont entrepris un voyage sur la route. Ils ont visité les communautés de la nation Mi’kmaq et les communautés de la nation Wolastoqey. Le résultat a été une exposition et un livre, un journal qui a capturé l'essence du voyage sur la route à travers les mots de Graff et les magnifiques photographies de Syliboy.\u003c\/p\u003e\u003cp\u003eLe livre capture leur rencontre à haut indice d'octane avec le musicien de heavy metal Eric Miller ; les maquettes de bateaux et les œuvres d'art surprenantes de Robert Pictou ; leur visite poignante avec John Seca Labillois, qui a évoqué un tambour du tronc d'un arbre vieux de 600 ans ; la collection de bois de Peter Augustine ; le site sacré de la cérémonie de Sundance à Big Cove ; et l'histoire des efforts de la famille Brooks pour rapatrier le canoë Akwiten, vieux de 200 ans.  \u003ci\u003eEkpahak\u003c\/i\u003e offre une synthèse des traditions culturelles et des pratiques artistiques qui servent aujourd'hui d’expressions d’autodétermination.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eTerry Graff is a visual artist, curator, and writer. He has served as Director and Chief Curator of the Beaverbrook Art Gallery in Fredericton and the Mendel Art Gallery in Saskatoon. His art work has toured internationally and is included in many private and public collections.\u003c\/p\u003e\u003cp\u003eTerry Graff est un artiste visuel, conservateur et écrivain. Il a été directeur et conservateur en chef de la Beaverbrook Art Gallery de Fredericton et de la Mendel Art Gallery de Saskatoon. Ses œuvres ont fait des tournées internationales et figurent dans de nombreuses collections privées et publiques.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eAlan Syliboy is a Mi'kmaq artist from Millbrook First Nation who works in a variety of media. Educated at the Nova Scotia College of Fine Arts, Syliboy's work has been featured by the Vancouver Winter Olympics, the Royal Canadian Mint, and at the Beaverbrook Art Gallery. His art incorporates traditional Mi'kmaq storytelling techniques.\u003c\/p\u003e\u003cp\u003eAlan Syliboy est un artiste Mi'kmaq de la Première Nation de Millbrook qui travaille dans divers médias. Ses œuvres ont été présenté par les Jeux olympiques d'hiver de Vancouver, la Monnaie royale canadienne et la Beaverbrook Art Gallery. Son art incorpore des techniques traditionnelles de narration Mi'kmaq.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e138 pages\u003cbr\u003ePub date: June 21, 2011\u003cbr\u003e","brand":"Terry Graff","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9780920674611\u0026nbsp;\u0026nbsp;$24.95","offer_id":18942796988473,"sku":"9780920674611","price":24.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9780920674611_FC.jpg?v=1777018969"},{"product_id":"anthony-flower-english-french","title":"Anthony Flower","description":"\u003cp\u003e\u003cb\u003eA romantic view of 19th-century Canada — a domestic complement to the work of Bartlett, Constable, and Kane.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eAnthony Flower (1792-1875) lived and worked in New Brunswick for most of his life. A farmer with a lifelong passion for art, he painted until his death at the age of eighty-three. His work opens a window on a time and place now gone. His paintings depict the life that he saw around him in rural New Brunswick and the events and scenes described in newspapers of the day.\u003c\/p\u003e\u003cp\u003eAnthony Flower’s art was among the first in New Brunswick to depict rural New Brunswick. Through his paintings, we learn about day-to-day life, religion, how people dressed, what their interests were, and what was important to them, all important pieces to our understanding of everyday life in nineteenth-century Canada.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eUne vue romantique du Canada du XIXe siècle. Un complément domestique au travail de Bartlett, Constable et Kane.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eAnthony Flower (1792-1875) a vécu et travaillé au Nouveau-Brunswick pendant la majeure partie de sa vie. Agriculteur passionné par l’art, il peint jusqu'à sa mort à l'âge de quatre-vingt-trois ans. Son travail ouvre une fenêtre sur un temps et un lieu disparu. Ses peintures dépeignent la vie qu'il a vue autour de lui dans les régions rurales du Nouveau-Brunswick et les événements et scènes décrits dans les journaux de l'époque.\u003c\/p\u003e\u003cp\u003eL'art d'Anthony Flower a été parmi les premiers à représenter le Nouveau-Brunswick rural. À travers ses peintures, nous apprenons la vie quotidienne, la religion, la façon dont les gens s'habillent, quels sont leurs intérêts et ce qui est important pour eux, autant d'éléments importants pour notre compréhension de la vie quotidienne au Canada au XIXe siècle.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eLaurie Glenn Norris is a writer, researcher, and art historian. Her articles and book reviews have appeared in the \u003ci\u003eQuill \u0026amp; Quire\u003c\/i\u003e, \u003ci\u003eAtlantic Books Today\u003c\/i\u003e, the \u003ci\u003eTelegraph Journal\u003c\/i\u003e, and the \u003ci\u003eDaily Gleaner\u003c\/i\u003e. She holds an MA in Art History from the University of Victoria.\u003c\/p\u003e\u003cp\u003eLaurie Glenn Norris est écrivain, chercheur et historienne de l'art. Ses articles et critiques de livres ont été publiés dans le \u003ci\u003eQuill \u0026amp; Quire\u003c\/i\u003e, \u003ci\u003eAtlantic Books Today\u003c\/i\u003e, le \u003ci\u003eTelegraph Journal\u003c\/i\u003e et le \u003ci\u003eDaily Gleaner\u003c\/i\u003e. Elle est titulaire d'une maîtrise en histoire de l'art de l'Université de Victoria.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eAnn Catherine Lowe was born in Saint John and hold degrees from West Virginia University and the University of New Brunswick, where she taught for many years before retirement.\u003c\/p\u003e\u003cp\u003eAnn Catherine Lowe est née à Saint John, Nouveau-Brunswick, et détient des diplômes de l'University of West Virginia et l’University of New Brunswick, où elle a enseigné pendant de nombreuses années avant sa retraite.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e152 pages\u003cbr\u003ePub date: March 19, 2006\u003cbr\u003e","brand":"Laurie Glenn Norris","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9780920674604\u0026nbsp;\u0026nbsp;$24.95","offer_id":19383093592121,"sku":"9780920674604","price":24.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9780920674604_FC.jpg?v=1777018984"},{"product_id":"materiality-and-perception-in-contemporary-atlantic-art","title":"Materiality and Perception in Contemporary Atlantic Art","description":"\u003cp\u003e\u003cb\u003eA fresh look at what is going on in the world of Atlantic Canadian art.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMateriality and Perception in Contemporary Atlantic Art\u003c\/i\u003e showcases over forty contemporary works of  art from Atlantic Canada, from established artists such as Freeman Patterson, Gerald Beaulieu, Dawn MacNutt, and Alan Syliboy to emerging artists such as Emma Hassencahl-Perley, Ursula Johnson, and Marie Fox. This is art engaged with contemporary conversations: the frailty of bodies and land, the interactions between people and environment, Indigenous – Settler relations, and the inner and outer markings of identity.\u003c\/p\u003e\u003cp\u003eFocusing intently on the materiality of the objects themselves — from jewellery to photographs, from carved paddles to video installations — the works selected for this publication and the associated exhibition ask viewers to look again, challenging their initial perceptions about what they see and what they perceive about the context in which the work is made.\u003c\/p\u003e\u003cp\u003eTom Smart’s accompanying essay introduces each work and its context and discusses the role of the viewer in interpreting art objects and creating meaning, whether viewing works as discrete individual objects or as part of the larger, holistic whole.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMateriality and Perception in Contemporary Atlantic Art\u003c\/i\u003e accompanies the 2019 Marion McCain Exhibition of Atlantic Art at the Beaverbrook Art Gallery.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eTom Smart is Director and CEO of the Beaverbrook Art Gallery. He is the author of numerous books on Canadian art, including books on Mary Pratt, Alex Colville, and Miller Brittain.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e80 pages\u003cbr\u003ePub date: January 7, 2020\u003cbr\u003e","brand":"Tom Smart","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9780981328072\u0026nbsp;\u0026nbsp;$19.95","offer_id":31084625690681,"sku":"9780981328072","price":19.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9780981328072_FC.jpg?v=1781079986"},{"product_id":"wabanaki-modern","title":"Wabanaki Modern | Wabanaki Kiskukewey | Wabanaki Moderne (English\/Mi'kmaw\/French)","description":"\u003ch3\u003eAbout\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eWinner, Canadian Museums Association Award for Outstanding Achievement (Research) and\u003c\/strong\u003e\u003cstrong\u003e APMA Best Atlantic Published Book Award\u003cbr\u003eLonglisted, First Nation Communities READ Award\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eThe story of an overlooked group of cultural visionaries\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe “Micmac Indian Craftsmen” of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions — including at Expo 67 — and their designs were featured on prints, silkscreened notecards, jewelry, tapestries, and even English porcelain.\u003c\/p\u003e\n\u003cp\u003ePrimarily self-taught and deeply rooted in their community, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent.\u003c\/p\u003e\n\u003cp\u003eBy 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this groundbreaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, \u003ci\u003eWabanaki Modern\u003c\/i\u003e features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eWla atukuaqn na ujit ta'nik mu ewi'tamuki'k tetuji kelulkɨpp ta'n teli amaliteka'tijik \u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eWla “Mi'kmewaqq L'nue'k amaliteka'tijik” tlo'ltijik Elsipogtog (amskweseweyekk i'tlui'tasikɨpp Big Cove) poqji wuli nenupnikk wla amaliteka'tijik 1960ekk. Je wekaw wutlukowaqnmuwow ika'tasikɨpp wikatikniktuk aqq ne'yo'tasikɨpp ta'n pukwelk ta'n wen nmitew — je wekaw Expo 67 — aqq ta'n koqoey kisi napui'kmi'tipp tampasɨk koqoey eweketu'tij stike' l'taqnewi'kasik, napui'kn misekn, wi'katikne'ji'jk, meko'tikl kuntal, kaqapitkl l'taqa'teke'l, aqq wekaw akalasie'we'k eptaqnk. Nekmow na kekina'masultijik aqq melki knukwi'tij ta'n tett telayawultijik, nekmow na amskewsewa'jewaqq l'nu'k tel nenujik ujit ta'n teli amaliteka'tijik ujit Atlantic Canada. Pema'lkwi'titl a'tukuaqnn ta'n sa'qewe'l, ta'n wejiaqel a'tukuaqnn Wabanaki, l'tu'tipp kaqasi milamu'k koqowey toqo eweketu'titl wutpitnual tetuji moqɨtekl, ma'muntekl, aqq weltekl.\u003c\/p\u003e\n\u003cp\u003eWekaw 1966ekk, kpno'l pun apoqnmuapni wla amaliteka'tikete'jɨk jel kaqnma'tijik ta'n koqoey nuta'tipp, amuj pana pun lukutipnikk, aqq tel awantasuwalutki'k. Nike', amskwesewey, wla a'tukuaqn tetuji msɨki'kɨpp wla wut lukewaqnmuwow etel kaqi a'tukwasikk. Wije'tew meski'k neya'tmk Beaverbrook Art Gallery pana'siktetew 2022al, \u003cem\u003eWabanaki Modern\u003c\/em\u003e na pema'toql wikikaqnn ujit ta'n pemiaqɨpp wla tetuji wulamu'kɨpp kisitaqnne'l telukutijik, maskutekl sa'qewe'l napuikasikl toqo nemu'jik etl-lukutijik wla lukewinu'k, aqq sikte wultek aqq welamu'k ta'n koqoey kisitu'tij.\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eL'histoire d'un groupe de visionnaires culturels ignorés\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eUn groupe d'artisans mi'kmaw d'Elsipogtog (autrefois Big Cove) au Nouveau-Brunswick se fit connaître à travers le Canada au début des années 1960. À l'apogée de leur renommée, les Micmac Indian Craftsmen firent l'objet d'articles dans des publications d'un océan à l'autre. Leur travail figura dans des livres et des expositions — dont Expo 67 à Montréal — et leurs œuvres graphiques furent reproduites sous forme de gravures et de sérigraphies, et elles ornèrent de la papeterie, des bijoux, des tapisseries et même de la porcelaine anglaise.\u003c\/p\u003e\n\u003cp\u003eEn grande partie autodidactes et solidement enracinés dans leur communauté, les Micmac Indian Craftsmen furent parmi les premiers artistes autochtones modernes au Canada atlantique. En s'inspirant de récits traditionnels wabanakis, ils fabriquaient à la main une gamme variée d'objets raffinés, évocateurs et porteurs d'un sens profond.\u003c\/p\u003e\n\u003cp\u003eEn 1966, toutefois, le gouvernement retira son soutien. Les Craftsmen perdirent leur financement, la production cessa peu après et leur œuvre finit par être oubliée. Une nouvelle publication relate maintenant, pour la première fois, l'histoire complète de cette coopérative innovatrice et de ses réalisations. Publié dans le cadre d'une grande exposition qui a lieu à la Galerie d'art Beaverbrook en 2022, \u003cem\u003eWabanaki Moderne\u003c\/em\u003e comprend des textes sur l'histoire de cet atelier dynamique, des photographies d'archives des artisans et de superbes illustrations couleur de leurs œuvres.\u003c\/p\u003e\n\u003ch3\u003eAuthor\u003c\/h3\u003e\n\u003cp\u003eEmma Hassencahl-Perley is a Wolastoqey artist, curator, and educator from Neqotkuk (Tobique First Nation).\u003c\/p\u003e\n\u003cp\u003eJohn Leroux is manager of collections and exhibitions at the Beaverbrook Art Gallery.\u003c\/p\u003e\n\u003cp\u003eEmma Hassencahl-Perley na Wolastoqey l'nu lukwet, nanko'teket, aqq nuji kina'muet; tleyawit Neqotkok (Tobique First Nation).\u003c\/p\u003e\n\u003cp\u003eJohn Leroux nekm nuji pma'toq Beaverbrook Art Gallery.\u003c\/p\u003e\n\u003cp\u003eEmma Hassencahl-Perley est une artiste, commissaire d'exposition et éducatrice de Neqotkuk (Première Nation Tobique).\u003c\/p\u003e\n\u003cp\u003eJohn Leroux est directeur des collections et des expositions à la Galerie d'art Beaverbrook.\u003c\/p\u003e\n\u003ch3\u003eAwards\u003c\/h3\u003e\n\u003cp\u003eWinner: Canadian Museums Association Award for Outstanding Achievement (Research)\u003cbr\u003eWinner: APMA Best Atlantic Published Book Award\u003cbr\u003eLonglisted: First Nation Communities READ Award\u003c\/p\u003e\n\u003ch3\u003eReviews\u003c\/h3\u003e\n“With the commentary presented in three languages (English, French, Micmac), \u003ci\u003eWabanaki Modern\u003c\/i\u003e is a unique, informative, and critically important contribution that is unreservedly recommended for personal, professional, community, and academic library Canadian Art History collections.” — \u003ci\u003eMidwest Book Review\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e “This gorgeous book accompanies a major exhibition and documentary film of the same name, showcasing the eclectic range of modern Wabanaki art design, featured on silkscreened notecards, jewelry, tapestries, beautiful prints and English porcelain while weaving together the stories of the artists who were instrumental in establishing the modern Indigenous art movement. The production values of this timely retrospective truly impressed the jury, who all agreed it was beautiful, of historic and cultural significance and a crucial contribution to the Canadian identity.” — APMA Best Atlantic-Published Book Award jury\u003cbr\u003e\u003cbr\u003e\n\u003ch3\u003eDetails\u003c\/h3\u003e\n228 pages\u003cbr\u003ePub date: October 18, 2022\u003cbr\u003e","brand":"Emma Hassencahl-Perley \u0026 John Leroux","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9781773102665\u0026nbsp;\u0026nbsp;$45.00","offer_id":41105788829852,"sku":"9781773102665","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/products\/9781773102665_FC.jpg?v=1634823182"},{"product_id":"michael-smith-english-french","title":"Michael Smith (English\/French)","description":"\u003cp\u003eMontreal-based painter Michael Smith is known for his fluid and impasto surfaces as well as his ability to strike a poetic balance between representation and abstraction. Inspired by art history as well as historic and current events, Smith pulls from various sources to create his energetic landscapes and seascapes. J.M.W. Turner’s \u003ci\u003eThe Fountain of Indolence\u003c\/i\u003e, George Chambers’s depictions of 19th-century Arctic expeditions, and Jean Paul Riopelle’s palette knife abstractions continually shape Smith’s understanding of landscape painting, while historically focused projects push the boundaries of his subject matter. \u003c\/p\u003e\u003cp\u003eThis major retrospective of Michael Smith’s paintings demonstrates his ability to mix landscape with abstraction, creating fictional spaces that show how experience impacts the way we view the world. Layering landscapes and seascapes, the familiar with the unfamiliar, Smith’s paintings convey (as Smith writes), “a mix of excitement and anxiety of a land, [that] although at times bucolic, is riddled with shadows.” \u003c\/p\u003e\u003cp\u003eAccompanying a major exhibition organized by the Beaverbrook Art Gallery, \u003ci\u003eMichael Smith: Sea of Change\u003c\/i\u003e features 50 large-scale reproductions, an essay on Smith’s trajectory as an artist by critic-curator Nancy Tousley, and an interview with the artist by John Leroux. \u003c\/p\u003e\u003cp\u003eMichael Smith’s work is included in numerous public collections, including those of le Musée d’art contemporain de Montréal, le Musée des beaux-arts de Montréal, the Beaverbrook Art Gallery, Rideau Hall, and la Citadelle de Québec.  \u003c\/p\u003e\u003cp\u003eLe peintre montréalais Michael Smith est renommé pour sa touche fluide et ses empâtements, ainsi que pour sa capacité à atteindre un équilibre riche en poésie entre la représentation et l’abstraction. Puisant son inspiration tant dans l’histoire de l’art que dans les événements du passé ou d’aujourd’hui, il utilise une multitude de sources pour créer ses marines et ses paysages agités. \u003ci\u003eThe Fountain of Indolence\u003c\/i\u003e de J.M.W. Turner, les représentations d’expéditions de George Chambers dans l’Arctique au XIXe siècle ou encore les abstractions à la spatule de Jean Paul Riopelle sont autant d’œuvres qui façonnent continuellement sa compréhension de la peinture de paysage, alors que les projets ancrés dans l’histoire repoussent les limites des thèmes qu’il aborde. \u003c\/p\u003e\u003cp\u003eCette grande rétrospective témoigne de la capacité de Michael Smith à marier paysage et abstraction pour créer des espaces fictifs qui démontrent l’incidence d’une expérience sur notre façon d’appréhender le monde. En superposant la marine et le paysage, le familier et l’inconnu, Smith exprime (comme il l’explique lui-même) « la fébrilité mêlée d’anxiété que l’on éprouve devant un paysage qui, bien que parfois bucolique, est criblé d’ombres ». \u003c\/p\u003e\u003cp\u003eLe catalogue \u003ci\u003eMichael Smith : mer mouvante\u003c\/i\u003e est publié à l’occasion d’une exposition d’envergure organisée par le Musée des beaux-arts Beaverbrook. Il comporte cinquante reproductions grand format, un texte sur le parcours artistique de Smith signé par la critique et commissaire d’exposition Nancy Tousley ainsi qu’une entrevue de John Leroux avec l’artiste. \u003c\/p\u003e\u003cp\u003eDes œuvres de Michael Smith font partie de nombreuses collections publiques, notamment celles du Musée d’art contemporain et du Musée des beaux-arts de Montréal, du Musée des beaux-arts Beaverbrook (Fredericton), de Rideau Hall (Ottawa) et de la Citadelle de Québec.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eJohn Leroux, an art historian, teacher, and retired architect, is the manager of collections and exhibitions at the Beaverbrook Art Gallery. He has authored or edited seventeen books and contributed to many others. His most recent publications include \u003ci\u003ePeter Powning: A Retrospective\u003c\/i\u003e and the award-winning \u003ci\u003eWabanaki Modern: The Artistic Legacy of the 1960s “Micmac Indian Craftsmen,”\u003c\/i\u003e which he co-authored with Emma Hassencahl-Perley. \u003c\/p\u003e\u003cp\u003eHistorien de l’art, professeur et architecte retraité, John Leroux est responsable des collections et des expositions au Musée des beaux-arts Beaverbrook. Il a écrit ou dirigé dix-sept ouvrages et collaboré à de nombreux autres. Parmi ses plus récentes publications, mentionnons \u003ci\u003ePeter Powning, Une rétrospective\u003c\/i\u003e et \u003ci\u003eWabanaki Moderne : L’héritage artistique des Micmac Indian Craftsmen des années 1960\u003c\/i\u003e qu’il a rédigé avec Emma Hassencahl-Perley. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eNancy Tousley, recipient of the Governor General’s Award for Visual and Media Arts for outstanding contribution, is a nationally known senior art critic, arts journalist, and independent curator. Based in Calgary, she was the art critic of the \u003ci\u003eCalgary Herald\u003c\/i\u003e for thirty years, as well as a contributing editor to \u003ci\u003eCanadian Art\u003c\/i\u003e magazine, for which she wrote regularly. She contributes regularly to \u003ci\u003eBorder Crossings\u003c\/i\u003e magazine and has written essays for more than sixty public art gallery and museum catalogues and books. \u003c\/p\u003e\u003cp\u003eNancy Tousley, lauréate du Prix du Gouverneur général pour les arts visuels et médiatiques pour sa contribution exceptionnelle, est une critique d’art, journaliste et conservatrice indépendante de renommée nationale. Établie à Calgary, elle a été critique d’art au \u003ci\u003eCalgary Herald\u003c\/i\u003e pendant 30 ans, ainsi que rédactrice en chef du magazine \u003ci\u003eCanadian Art\u003c\/i\u003e, pour lequel elle écrivait régulièrement. 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Dès ses premières œuvres, préservant les empreintes du corps humain sur le sol, et jusqu’à ses plus récentes explorations de poésie \u003ci\u003ein situ\u003c\/i\u003e dans la forêt boréale et de photographie comme médium actif, où elle laisse le ruissellement de l’eau sur l’objectif brouiller son autoportrait, Creates exerce sa grande vigilance écologique et culturelle pour nous amener à mieux comprendre le langage du monde naturel et les « lieux » que nous y occupons.\u003c\/p\u003e\u003cp\u003eIl est difficile de rendre compte en un seul volume d’une carrière qui a préféré l’acte à l’artefact, le moment au monument. Or, sous la direction des commissaires-critiques Susan Gibson Garvey et Andrea Kunard, \u003ci\u003eLieux, sentiers et pauses\u003c\/i\u003e propose au lecteur, en plus d’une large gamme des œuvres photographiques de Marlene Creates, un examen critique de sa démarche multidisciplinaire (assemblages, croquis de cartes-mémoire et poèmes sur vidéo) grâce aux essais de Gibson Garvey, de Kunard, de l’historienne de l’art Joan M. Schwartz, de l’écrivain écologiste Robert Macfarlane et du poète Don McKay.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMarlene Creates : Lieux, sentiers et pauses\u003c\/i\u003e accompagne l’importante rétrospective itinérante organisée par la galerie d'art Beaverbrook, en partenariat avec la Dalhousie Art Gallery. Après son vernissage à Fredericton en septembre 2017, l’exposition visitera Halifax, Charlottetown, St. John’s et d’autres villes du centre et de l’ouest du Canada.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eSusan Gibson Garvey est commissaire indépendante, critique, enseignante et artiste visuelle, ainsi qu’exdirectrice et commissaire de la Dalhousie Art Gallery.\u003cbr\u003e\u003cbr\u003eAndrea Kunard, conservatrice adjointe de photographie au Musée des beaux-arts du Canada, a enseigné l’histoire de la photographie, l’art canadien et la théorie culturelle à la Carleton University d’Ottawa et à la Queen’s University de Kingston. 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Leur pratique est ancrée dans des préoccupations actuelles : la fragilité des corps et du territoire, les interactions entre les humains et l’environnement, les relations entre les Autochtones et les colons ou encore les marqueurs identitaires internes et externes.\u003c\/p\u003e\u003cp\u003eLes œuvres sélectionnées pour l’exposition et cette publication — bijoux, photographies, pagaies gravées ou installations vidéo — sont centrées sur la matérialité des objets eux-mêmes. Elles interpellent le spectateur et l’invitent à jeter un autre regard sur le contexte de leur création, à remettre en question ce qu’il voit et perçoit initialement.\u003c\/p\u003e\u003cp\u003eL’essai de Tom Smart présente chaque œuvre dans son contexte, et traite du rôle du spectateur dans la création de sens et l’interprétation des objets d’art, tant individuellement qu’à titre d’éléments d’un ensemble global plus vaste.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMatérialité et perception dans l’art contemporain des provinces atlantiques\u003c\/i\u003e accompagne l’exposition Marion McCain d’art de la région atlantique 2019 présentée à la Galerie d’art Beaverbrook.\u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eTom Smart is Director and CEO of the Beaverbrook Art Gallery. 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Accompanying an exhibition at the Beaverbrook Art Gallery opening in July 2025, the volume shows the artist’s evolution from painting the heart of Venice to painting views of canals and squares in less familiar parts of the city. \u003c\/p\u003e\u003cp\u003eFox’s watercolours and pencil drawings record a half-century of exploration and observation of the places that fascinated him. He returned to Venice again and again, at least once each year from the mid-1970s until 2008. Venetian colour and light were inspirational sources for all of his painting — abstract and representational images alike — and his approach was explicitly enhanced by the Venetian masters who revolutionized the act of laying paint on the canvas. \u003c\/p\u003e\u003cp\u003eJohn Fox: A Painter in Venice | Un peintre à Venise features over 75 reproductions of his Venetian paintings, drawings, and watercolours, and three essays about Fox’s remarkable career by Victoria LeBlanc, John Leroux, and Sandra Paikowsky that explore his time in the city, his devotion to the authenticity of Venice’s lesser-known neighbourhoods, and his very personal exploration of Venetian art and architecture. \u003c\/p\u003e\u003cp\u003eCe recueil ouvre une perspective fascinante sur le legs visuel de l’artiste canadien John Fox (1927-2008) grâce à un magnifique agencement d’œuvres créées à Venise, ce « paradis des villes », que Fox aura fréquenté pendant des décennies. L’ouvrage accompagne une exposition que présentera le Musée des Beaux-Arts Beaverbrook en 2025. Il montre l’évolution de l’artiste qui, après avoir privilégié le cœur de la ville, a peint des vues de canaux et de places bien moins connus.  \u003c\/p\u003e\u003cp\u003eLes aquarelles et les carnets de croquis au crayon de l’artiste, nombreux, rendent compte d’un demi-siècle d’exploration et d’observation de lieux qui le captivaient. Fox ira très souvent à Venise, où il séjournera au moins une fois chaque année à partir du milieu des années 1970. Les couleurs et la lumière de la Sérénissime ont inspiré toutes ses toiles, abstraites et figuratives, sa manière étant d’ailleurs manifestement enrichie par la fréquentation de maîtres vénitiens qui ont révolutionné la peinture. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eJohn Fox: Un peintre à Venise\u003c\/i\u003e regroupe plus de 80 reproductions de peintures, dessins et aquarelles exécutés à Venise, et trois essais de Victoria Leblanc, John Leroux et Sandra Paikowsky, qui sondent la remarquable carrière de cet artiste, ainsi que sa présence dans sa ville de prédilection, son profond attachement pour l’authenticité des quartiers moins connus et son exploration très personnelle de l’art et de l’architecture vénitiens. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eSandra Paikowsky, CM, is an art historian, curator, writer, and Professor Emeritus of Art History at Concordia University. She was a longtime director and curator at the Concordia Art Gallery, co-founder and editor\/publisher of the \u003ci\u003eJournal of Canadian Art History\u003c\/i\u003e, and co-editor of the McGill-Queen's University Press\/Beaverbrook series, \u003ci\u003eCanadian Foundation Studies in Art History\u003c\/i\u003e. In 2015, she received the Order of Canada for her contributions to Canadian art history.\u003c\/p\u003e\u003cp\u003eSandra Paikowsky, CM, est historienne de l’art, conservatrice, autrice et professeure émérite d’histoire de l’art à l’Université Concordia. Longtemps directrice et conservatrice de la galerie d’art de Concordia, elle a cofondé les \u003ci\u003eAnnales d’histoire de l’art canadien\u003c\/i\u003e, dont elle a également été rédactrice et éditrice, et a codirigé la série des \u003ci\u003eCanadian Foundation Studies in Art History\u003c\/i\u003e, projet conjoint de McGill-Queen's University Press et Beaverbrook. En 2015, elle a été investie de l’Ordre du Canada pour sa contribution à l’histoire de l’art canadien.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eVictoria LeBlanc is an artist, writer, curator and teacher who has contributed to over 40 publications on Canadian artists. She is a former director of the McClure Gallery at Montréal’s Visual Arts Centre and was curator of the Gallery at Victoria Hall in Westmount. She has participated in solo and group exhibitions across Canada and is the author of two books of poetry.\u003c\/p\u003e\u003cp\u003eArtiste, autrice et enseignante, Victoria LeBlanc a participé à la rédaction de plus de 40 ouvrages sur des artistes canadiens. Elle a été directrice de la Galerie McClure, au centre des arts visuels de Montréal, et conservatrice de la Galerie du Victoria Hall, à Westmount. 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The massive tides are so integral to the region’s identity that their ebb and flow defines the character of the place. \u003c\/p\u003e\u003cp\u003eSt. George has seen more than its fair share of the ebb and flow of people and prospects — the typical story of incoming trade and riches, followed by dwindling opportunities. But interest has recently returned to St. George, drawn there by an appreciation for non-urban locales of stark natural beauty, affordability, and down-to-earth people. \u003c\/p\u003e\u003cp\u003e Photographer Susan Lapides has been visiting St. George for over twenty-five years. Her deep commitment to capturing the character of place is brilliantly matched by her innate sense of composition and colour. Her work testifies to the fact that the everyday can be mesmerizing if we are lucky enough to have the right interpreter behind the lens. In Lapides’s photographs, the dusk cobalt blues of the ocean and sky become symphonic and a windswept cliff with a lighthouse, dog, lacrosse player, and tree appear as powerful and enigmatic as an Edward Hopper painting. \u003c\/p\u003e\u003cp\u003eLa côte de Fundy a toujours été un lieu de mouvements. Les marées d’une amplitude hors du commun ont marqué l’identité de cette région du Nouveau-Brunswick, dont le caractère s’est forgé au gré des vagues. \u003c\/p\u003e\u003cp\u003eIl y en a eu, des vagues, à St. George! De gens, de perspectives et de fortunes. L’histoire typique d’un essor commercial et de richesses qui abondent, puis déclinent. Et voilà que St. George suscite un regain d’intérêt notable, alimenté par la beauté brute des environs de la ville, des prix abordables et le charme des gens sans prétention. \u003c\/p\u003e\u003cp\u003eSusan Lapides fréquente St. George depuis plus de vingt-cinq ans, appareil photo à l’œil. Sa détermination à saisir la personnalité du lieu n’a d’égal que son sens inné de la composition et de la couleur. Ses clichés prouvent que le quotidien peut être fascinant, pour peu que l’interprète derrière la lentille en soit parfaitement conscient. Le bleu cobalt de l’océan et du ciel au crépuscule a une nette tonalité symphonique. Le phare, le chien, le joueur de crosse et l’arbre qui animent une falaise balayée par le vent évoquent autant de présence et de mystère qu’un tableau d’Edward Hopper. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eSusan Lapides is a photographer who creates time-based projects focusing on adolescence and place. Through her portraits and landscapes, she examines social, cultural, and community issues. \u003c\/p\u003e\u003cp\u003eA graduate of the School of the Museum of Fine Arts at Tufts University, Lapides had an extensive career as an editorial photographer for national publications including \u003ci\u003eSmithsonian\u003c\/i\u003e, \u003ci\u003eLife\u003c\/i\u003e, \u003ci\u003eTime\u003c\/i\u003e, \u003ci\u003eForbes\u003c\/i\u003e, the \u003ci\u003eNew York Times\u003c\/i\u003e, and \u003ci\u003ePeople\u003c\/i\u003e. She won numerous awards from the American Society of Media Photographers and has photographed luminaries including President Barack Obama and Rose Kennedy. \u003c\/p\u003e\u003cp\u003eLapides has held solo exhibitions at Sunbury Shores (St. Andrews, NB), the Beaverbrook Art Gallery (Fredericton, NB), and the Griffin Museum (Boston, MA). Her work has been included in many group exhibitions including New York’s Foley Gallery, the Newport Art Museum, the Brand Library \u0026amp; Art Center in Los Angeles, and San Diego’s Oceanside Museum of Art. Her award-winning photography is in numerous collections. She resides in Boston, Massachusetts, and in St. George, New Brunswick. \u003c\/p\u003e\u003cp\u003eSusan Lapides est une photographe. Ses projets, ancrés dans le temps, mettent en valeur l’adolescence et les lieux. Ses portraits et ses paysages rendent compte des enjeux sociaux, culturels et communautaires. \u003c\/p\u003e\u003cp\u003eDiplômée de la School of the Museum of Fine Arts de l’Université Tufts, Lapides est photographe narrative et d’opinion pour des publications comme le \u003ci\u003eSmithsonian\u003c\/i\u003e, \u003ci\u003eLife\u003c\/i\u003e, \u003ci\u003eTime\u003c\/i\u003e, \u003ci\u003eForbes\u003c\/i\u003e, le \u003ci\u003eNew York Times\u003c\/i\u003e, et \u003ci\u003ePeople\u003c\/i\u003e. Maintes fois récompensée par l’American Society of Media Photographers, elle a à son actif les portraits de personnalités comme le président Barack Obama et Rose Kennedy. \u003c\/p\u003e\u003cp\u003eLapides a exposé en solo à Sunbury Shores (St. Andrews, N.-B.), au Musée des beaux-arts Beaverbrook (Fredericton, N.-B.) et au Griffin Museum (Boston, MA). Elle a également participé à de nombreuses expositions collectives, notamment à la Foley Gallery de New York, au Newport Art Museum, au Brand Library \u0026amp; Art Center de Los Angeles et au Oceanside Museum of Art de San Diego. Souvent primées, ses photographies figurent dans de nombreuses collections. Elle vit en partie à Boston, au Massachusetts, et à St. George, au Nouveau-Brunswick. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eJohn Leroux, an art historian, teacher, and retired architect, is the manager of collections and exhibitions at the Beaverbrook Art Gallery. He has authored or edited seventeen books and contributed to many others. His most recent publications include \u003ci\u003ePeter Powning: A Retrospective\u003c\/i\u003e and the award-winning \u003ci\u003eWabanaki Modern: The Artistic Legacy of the 1960s “Micmac Indian Craftsmen,”\u003c\/i\u003e which he co-authored with Emma Hassencahl-Perley. \u003c\/p\u003e\u003cp\u003eHistorien de l’art, professeur et architecte retraité, John Leroux est responsable des collections et des expositions au Musée des beaux-arts Beaverbrook. Il a écrit ou dirigé dix-sept ouvrages et collaboré à de nombreux autres. Parmi ses plus récentes publications, mentionnons \u003ci\u003ePeter Powning, Une rétrospective\u003c\/i\u003e et \u003ci\u003eWabanaki Moderne : L’héritage artistique des Micmac Indian Craftsmen des années 1960\u003c\/i\u003e qu’il a rédigé avec Emma Hassencahl-Perley. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e88 pages\u003cbr\u003ePub date: September 3, 2024\u003cbr\u003e","brand":"Susan Lapides (Author), John Leroux (Introduction by)","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9781773104263\u0026nbsp;\u0026nbsp;$27","offer_id":46212842193135,"sku":"9781773104263","price":27.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781773104263_FC.jpg?v=1781338031"},{"product_id":"peter-powning","title":"Peter Powning (English\/French)","description":"\u003cp\u003e\u003cb\u003eA \u003ci\u003eCBC\u003c\/i\u003e New Brunswick Book List Selection\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\"I start with an original object, break it, and transform parts of the piece into other materials. These pieces gather meaning and explanation as I work with them.\"\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003ePeter Powning is simultaneously referred to as a sculptor and a ceramist, but his art does not fit easy categorization, incorporating and combining elements from one medium into another. His work challenges the viewer to reconsider the object, its form, and its function. This inventiveness has resulted in numerous exhibitions, awards, and commissions for public art sculptures throughout Canada.\u003c\/p\u003e\u003cp\u003eFeaturing 175 full-colour images of Powning’s work along with essays by curators and critics, \u003ci\u003ePeter Powning\u003c\/i\u003e celebrates the career of one of Canada’s finest visual artists and accompanies a major retrospective exhibition organized by the Beaverbrook Art Gallery.\u003c\/p\u003e\u003cp\u003e« Je commence par un objet original, je le brise et j’en transforme certains éléments en quelque chose d’autre. Ce que j’ai fabriqué ou encore les artéfacts que j’ai trouvés subissent un processus de fragmentation et de transformation. » \u003cbr\u003e– Peter Powning \u003c\/p\u003e\u003cp\u003ePeter Powning est à la fois désigné comme un sculpteur et un céramiste, mais son art ne correspond pas à la catégorisation facile; il se définie plutôt par l’intégration et la combinaison d’éléments d’un milieu à l’autre. Son travail met le spectateur au défi de reconsidérer l’objet, sa forme et sa fonction. Cette inventivité a donné lieu à de nombreuses expositions, prix et commandes de sculptures d’art public partout au Canada. \u003c\/p\u003e\u003cp\u003eAvec 175 images en couleur de l’œuvre de Powning ainsi que des essais de conservateurs et de critiques, \u003ci\u003ePeter Powning : Une rétrospective\u003c\/i\u003e célèbre la carrière de l’un des meilleurs artistes visuels du Canada. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eJohn Leroux, an art historian, teacher, and retired architect, is the manager of collections and exhibitions at the Beaverbrook Art Gallery. He has authored or edited seventeen books and contributed to many others. His most recent publications include \u003ci\u003ePeter Powning: A Retrospective\u003c\/i\u003e and the award-winning \u003ci\u003eWabanaki Modern: The Artistic Legacy of the 1960s “Micmac Indian Craftsmen,”\u003c\/i\u003e which he co-authored with Emma Hassencahl-Perley. \u003c\/p\u003e\u003cp\u003eHistorien de l’art, professeur et architecte retraité, John Leroux est responsable des collections et des expositions au Musée des beaux-arts Beaverbrook. Il a écrit ou dirigé dix-sept ouvrages et collaboré à de nombreux autres. Parmi ses plus récentes publications, mentionnons \u003ci\u003ePeter Powning, Une rétrospective\u003c\/i\u003e et \u003ci\u003eWabanaki Moderne : L’héritage artistique des Micmac Indian Craftsmen des années 1960\u003c\/i\u003e qu’il a rédigé avec Emma Hassencahl-Perley. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eReviews\u003c\/h3\u003e\"A pleasure to read, and the perfect coffee table book to showcase inventive New Brunswick art.\" — \u003ci\u003e[EDIT]\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\"The book is much more than a usual exhibition catalogue: its bilingual text and images of the work, most photographed by Powning himself, offer a rare, intimate glimpse into a life devoted to the pursuit of a multi-disciplined practice.\" — \u003ci\u003eBillie\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e192 pages\u003cbr\u003ePub date: November 17, 2020\u003cbr\u003e","brand":"John Leroux","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9781773101927\u0026nbsp;\u0026nbsp;$45","offer_id":46224446554351,"sku":"9781773101927","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781773101927_FC.jpg?v=1778747445"},{"product_id":"leaders-in-the-field","title":"Leaders in the Field","description":"\u003cp\u003e\u003ci\u003eLeaders in the Field: The History and Legacy of Art at Mount Allison\u003c\/i\u003e showcases the vitality and significant contributions of Mount Allison University’s Fine Arts department to Canadian visual art and culture. Founded in the mid-19th century, it was the first fine arts department in Canada and has been home for many of Canada’s most important artists, either as students or faculty members. The legacy has been remarkable. \u003c\/p\u003e\u003cp\u003eThe extensive list of artists includes such luminaries as Herménégilde Chiasson, Alex Colville, Michael de Adder, Evergon, Tom Forrestall, Lawren P. Harris, Susan Low-Beer, Danica Lundy, Christopher Pratt, Mary Pratt, and Janice Wright Cheney, among many others. \u003c\/p\u003e\u003cp\u003eThis handsome volume includes essays by curators and art historians Ray Cronin, Mireille Eagan, and Jane Tisdale on the history of Fine and Applied Arts at Mount Allison. Also included are over 350 reproductions of work by a broad sweep of artists who studied or taught in Mount A’s Fine Arts Department over its 170-year history. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eJohn Leroux, ONB, PhD, is an art historian, teacher, former architect, and the Director of the Marion McCain Institute for Atlantic Canadian Art at the Beaverbrook Art Gallery. He has authored, edited, or contributed to more than 20 books, including \u003ci\u003eA Vision in Wood and Stone: The Architecture of Mount Allison University\u003c\/i\u003e with Thaddeus Holownia, and \u003ci\u003eWabanaki Modern: The Artistic Legacy of the 1960s “Micmac Indian Craftsmen”\u003c\/i\u003e with Emma Hassencahl-Perley. He has received the CMA Award for Outstanding Achievement (Research) and the APMA Best Atlantic-Published Book Award, and was a team member of Canada’s entry at the 2012 Venice Biennale in Architecture.\u003cbr\u003e\u003cbr\u003eThaddeus Holownia, ONB, MSRC, ARC, is a visual artist, letterpress printer, and publisher. He is professor emeritus in the Pierre Lassonde School of Fine Arts at Mount Allison University, where he taught for over forty years. Holownia’s photographs are held in numerous public collections, including the National Gallery of Canada, the Art Gallery of Nova Scotia, the International Centre of Photography in New York, and the Yale University Arts of the Book Collection. Holownia has written or contributed to more than 25 publications. He received the Governor General’s Award in Visual and Media Arts in 2025.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e300 pages\u003cbr\u003ePub date: May 12, 2026\u003cbr\u003e","brand":"John Leroux \u0026 Thaddeus Holownia","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9781895488708\u0026nbsp;\u0026nbsp;$60","offer_id":46797130268911,"sku":"9781895488708","price":60.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781895488708_FC.jpg?v=1781338208"},{"product_id":"un-appel-artistique-french","title":"Un appel artistique (French)","description":"\u003cp\u003e\u003ci\u003eUn appel artistique : le rayonnement des beaux-arts à Mount Allison\u003c\/i\u003e célèbre la vitalité du département des beauxarts de la Mount Allison University et sa contribution remarquable à l’art visuel et à la culture, au Canada. Premier du genre au pays à sa fondation, au milieu du XIXe siècle, le département a accueilli et accueille encore, comme étudiants et professeurs, un nombre impressionnant de figures de proue du monde canadien de l’art, et parmi eux, beaucoup de précurseurs tels Herménégilde Chiasson, Alex Colville, Michael de Adder, Evergon, Tom Forrestall, Lawren P. Harris, Susan Low-Beer, Danica Lundy, Christopher Pratt, Mary Pratt et Janice Wright-Cheney.\u003c\/p\u003e\u003cp\u003eCet ouvrage, d’une grande élégance, propose des essais de Ray Cronin, Mireille Eagan et Jane Tisdale, conservateurs et historiens de l’art, sur l’histoire des beaux-arts et des arts appliqués à Mount Allison. Il réunit aussi 350 reproductions d’oeuvres d’une grande diversité d’artistes qui ont étudié ou enseigné à « Mount A » depuis la création du département des beaux-arts, voici plus de 170 ans. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eJohn Leroux, O.N.-B., Ph. D., est architecte retraité, historien de l’art, professeur et directeur de l’Institut Marion McCain de l’art du Canada atlantique du Musée des beaux-arts Beaverbrook. Il a été directeur et contributeur de plus de 20 ouvrages et a écrit entre autres \u003ci\u003eA Vision in Wood and Stone: The Architecture of Mount Allison University\u003c\/i\u003e, avec Thaddeus Holownia, et \u003ci\u003eWabanaki Moderne : l’héritage artistique des « Micmac Indian Craftsmen » des années 1960\u003c\/i\u003e, avec Emma Hassencahl-Perley. Lauréat d’un prix d’excellence de l’Association des musées canadiens, catégorie Recherche, ainsi que d’un prix d’excellence de l’Atlantic Publishers Marketing Association pour un ouvrage publié au Canada atlantique, il a fait partie, en 2012, de l’équipe qui représentait le Canada à la Biennale de Venise en architecture.\u003cbr\u003e\u003cbr\u003eThaddeus Holownia, O.N.-B., MSRC, ARC, est visualiste, typographe, éditeur et professeur émérite de la Pierre Lassonde School of Fine Arts de la Mount Allison University, où il a enseigné pendant plus de 40 ans. L’œuvre photographique d’Holownia figure dans de nombreuses collections publiques, dont le Musée des beaux-arts du Canada, l’Art Gallery of Nova Scotia, l’International Centre of Photography de New York et l’Art of the Book Collection de la Yale University. Holownia est auteur et contributeur de plus de 25 publications. Il a reçu, en 2025, le Prix du Gouverneur général en arts visuels et en arts médiatiques.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e300 pages\u003cbr\u003ePub date: November 3, 2026\u003cbr\u003e","brand":"John Leroux \u0026 Thaddeus Holownia","offers":[{"title":"Paperback\u0026nbsp;\u0026nbsp;9781895488715\u0026nbsp;\u0026nbsp;$60","offer_id":46797130334447,"sku":"9781895488715","price":60.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781895488715_FC.jpg?v=1776778710"},{"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"}],"url":"https:\/\/gooselane.com\/collections\/bag.oembed","provider":"Goose Lane Editions","version":"1.0","type":"link"}