{"title":"Owens Art Gallery","description":"","products":[{"product_id":"timeless-forms","title":"Timeless Forms","description":"\u003cp\u003eBeauty and frailty: these are the two sides of the human condition that have informed Nova Scotian artist Dawn MacNutt’s evocative work for more than 45 years. Working throughout her career with both bronze forms and natural materials like willow, seagrass, and hemp, MacNutt creates organic, abstract forms and sculptures that resonate on a visceral level: a mother and child, a spirit within, a column that is both delicate and strong. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eTimeless Forms\u003c\/i\u003e brings together over a hundred images of MacNutt’s sculptures and textiles, weaving them into the story of her life: from growing up in rural Nova Scotia during the Second World War; through her studies at Mount Allison University under the guidance of Alex Colville; to marriages, motherhood and finding, in her forties, the courage to throw herself into art full time. Writing about her unique artistic journey with humour and empathy, MacNutt finds joy in the face of loss and resilience in the face of adversity.  \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003eBorn in 1937 in New Glasgow, Nova Scotia, MacNutt attended Mount Allison University in the 1950s, and practiced social work for forty years. Her passion was always to create, and, when she received Canada Council funding in 1999, she left social work to become a full-time artist. She has since been inducted into the Royal Canadian Academy of the Arts and become a Master Artisan of Craft Nova Scotia and a member of the International Sculpture Center and Visual Arts Nova Scotia. Having exhibited in over a hundred shows, from the local to the international, MacNutt’s work graces many permanent collections, including those of the Art Gallery of Nova Scotia, the Canadian Museum of History, the Owens Art Gallery, MSVU Art Gallery, the Museum of Arts and Design (New York), LongHouse Reserve in East Hampton, New York, and the NCC Crown Collection. She lives in Pictou County, Nova Scotia.\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e160 pages\u003cbr\u003ePub date: January 7, 2025\u003cbr\u003e","brand":"Dawn MacNutt","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9781894518826\u0026nbsp;\u0026nbsp;$45","offer_id":45782304620783,"sku":"9781894518826","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781894518826_FC.jpg?v=1781166894"},{"product_id":"permanent-danger-danger-permanent","title":"Permanent Danger | Danger permanent (English\/French)","description":"\u003ch3\u003eAbout\u003c\/h3\u003e\n\u003cp\u003eAnna Torma’s large embroideries are complex expressions of her experiences of family, immigration, joy, and the act of creation. Her richly layered textile narratives draw references from popular culture, thrift shop aesthetics, and traditional Hungarian textiles and demonstrate her deep concern for the world we live in.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003ePermanent Danger\u003c\/i\u003e takes its title from Torma’s large-scale 2017 work, making reference to human strife and vulnerability, threatened natural environments, and the highs and lows of daily life. Fifteen large-scale works produced by Torma between 2011 and 2021 are featured, along with essays by curators Sarah Quinton, Anne Koval, and Emily Falvey. The result is a stunning volume that allows readers to appreciate the intricacies and complexities of Torma’s magnificent works.\u003c\/p\u003e\n\u003cp\u003eBorn in Hungary, Anna Torma immigrated to Canada in 1988 and lives in New Brunswick. A member of the Royal Canadian Academy of Arts, she was awarded the Governor General’s Award in Visual and Media Arts — Saidye Bronfman Award in 2020. Her work has been exhibited extensively in Canada and abroad, including at the prestigious 16th International Triennial of Tapestry in \u0026amp;Lstrok;ód\u0026amp;zacute;, Poland, in 2019, and CONTEXTILE 24, the contemporary textile art biennial in Guimarães, Portugal, in 2024.\u003c\/p\u003e\n\u003cp\u003eLes grandes broderies d’Anna Torma sont des tableaux complexes qui illustrent une expérience particulière de la famille, de l’immigration, de la joie et de l’acte de création. Autant de récits emboîtés, inspirés de la culture populaire, d’une esthétique de friperie et de l’art textile hongrois traditionnel, qui expriment son inquiétude à l’égard de notre monde.\u003c\/p\u003e\n\u003cp\u003eL’ouvrage \u003ci\u003eDanger permanent\u003c\/i\u003e emprunte son titre à une œuvre de grandes dimensions que Torma a créée en 2017 et qui évoque les combats et la vulnérabilité de l’être humain, les menaces qui pèsent sur le monde naturel, ainsi que les hauts et les bas de la vie quotidienne. L’ouvrage fait la part belle à quinze œuvres à grande échelle des années 2011 à 2021 et à des textes de Sarah Quinton, Anne Koval et Emily Falvey, toutes trois conservatrices. Résultat : un livre superbe qui rend accessibles aux lecteurs la subtilité et la complexité des œuvres magnifiques de l’artiste.\u003c\/p\u003e\n\u003cp\u003eNée en Hongrie, Anna Torma est arrivée au Canada en 1988 et vit actuellement au Nouveau-Brunswick. Membre de l’Académie royale des arts du Canada, elle a reçu en 2020 le Prix Saidye-Bronfman, de l’importante série des Prix du Gouverneur général en arts visuels et en arts médiatiques. Ses œuvres ont fait l’objet de nombreuses expositions au Canada et ailleurs, notamment la prestigieuse Triennale internationale de la tapisserie de Lodz, en Pologne, en 2019, et \u003ci\u003eCONTEXTILE\u003c\/i\u003e, la biennale d’art textile contemporain présentée à Guimarães, au Portugal, en 2024.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003eAuthor\u003c\/h3\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eAnne Koval is Professor of Art History, Museum and Curatorial Studies at Mount Allison University. She is the author of \u003ci\u003eMary Pratt: A Love Affair with Vision\u003c\/i\u003e, \u003ci\u003eWhistler in His Time\u003c\/i\u003e, and the co-author of \u003ci\u003eJames McNeill Whistler: Beyond the Myth\u003c\/i\u003e. She has written on Anna Torma for the Textile Museum of Canada and her writing on contemporary art has appeared in several edited volumes, including \u003ci\u003eStitching the Self: Identity and the Needle Arts\u003c\/i\u003e, \u003ci\u003eMore Caught in the Act: An Anthology of Performance Art by Canadian Women\u003c\/i\u003e, and \u003ci\u003eThe Radcliffe Line and Other Geographies: Sarindar Dhaliwal\u003c\/i\u003e, which includes a series of ekphrastic poems by Koval. She has curated exhibitions at the Owens Art Gallery, the Mendel Art Gallery, the Banff Park Museum, and the Confederation Centre Art Gallery, which included the work of Ed Pien, Merle McMaster, D’Arcy Wilson, Diana Thorneycroft, Aganetha Dyck, Barb Hunt, Jeannie Thib, Janice Wright Cheney, Cindy Sherman, and Sylvia Plath.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003eDetails\u003c\/h3\u003e\n\u003cp\u003e112 pages\u003cbr\u003ePub date: \u003cbr\u003e\u003c\/p\u003e","brand":"Emily Falvey, Anne Koval, Sarah Quinton","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9780980908893\u0026nbsp;\u0026nbsp;$49.95","offer_id":46395020050671,"sku":"9780980908893","price":49.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9780980908893_FC.jpg?v=1744748433"},{"product_id":"edward-mitchell-bannister-english-french","title":"Edward Mitchell Bannister (English\/French)","description":"\u003cp\u003eEdward Mitchell Bannister was a Black Canadian American artist whose pastoral landscapes and seascapes made him a well-known painter in the latter part of the nineteenth century. Born in Saint Andrews, NB, Bannister spent the early part of his career in Boston before moving to Providence, RI, where he was a leading artist and abolitionist for thirty years. \u003c\/p\u003e\u003cp\u003eBannister won first prize at the 1876 Centennial Exposition in Philadelphia for his painting \u003ci\u003eUnder the Oaks\u003c\/i\u003e, making him the first African American to win a major American art prize. Despite his success, Bannister often struggled to achieve commissions. While he is increasingly revered in the United States, he has remained largely unknown in Canada — until now. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eHidden Blackness | Noir oublié\u003c\/i\u003e is the first publication in over thirty years about this groundbreaking Black artist and abolitionist. It features archival images and reproductions of sixteen works by Bannister, many drawn from the collection of the Smithsonian American Art Museum. Essays explore Bannister’s life and work, the historical context of Black history in the Maritimes and New England in the 19th century, and the recent discovery that Bannister painted over his work to obscure the Black figures. \u003c\/p\u003e\u003cp\u003ePeintre accompli, Edward Mitchell Bannister est réputé pour ses marines et ses paysages champêtres. Né à Saint Andrews, au Nouveau-Brunswick, cet artiste du XIXe siècle s’installe en Nouvelle-Angleterre dès sa jeunesse, où il s’investit dans un mouvement abolitionniste de Boston. Son tableau intitulé \u003ci\u003eUnder the Oaks\u003c\/i\u003e [Sous les chênes] lui vaut le premier prix de la Centennial Exposition de Philadelphie, en 1876, et fait de lui le premier Afro-Américain d’origine canadienne à remporter l’un des plus prestigieux prix artistiques des États-Unis. C’est aussi l’un des membres fondateurs de la Rhode Island School of Design. Malgré tout, Bannister reste largement inconnu au Canada. \u003c\/p\u003e\u003cp\u003ePremier ouvrage publié au Canada sur cet abolitionniste et artiste noir novateur, \u003ci\u003eEdward Mitchell Bannister. Noir oublié\u003c\/i\u003e est un tournant. Il réunit des images historiques, des reproductions d’œuvres, dont beaucoup figurent dans la collection du Smithsonian American Art Museum, et des essais qui mettent en lumière la vie et l’œuvre du peintre, le contexte historique des Noirs et des communautés noires dans le Nouveau-Brunswick du XIXe siècle. Il présente en outre des découvertes récentes et fascinantes sur la pratique de Bannister, qui transformait volontiers en paysages des tableaux représentant d’abord des personnages. \u003c\/p\u003e\u003cbr\u003e\u003ch3\u003eAuthor\u003c\/h3\u003e\u003cp\u003eGwen Manthey is an independent conservator of paintings currently focused on private practice in Washington, DC. She has previously worked at the Smithsonian American Art Museum; the Museum of Fine Arts, Boston; the Chrysler Gallery of Art; the Walters Art Museum; and the Corcoran Gallery of Art. \u003c\/p\u003e\u003cp\u003eGwen Manthey est conservatrice indépendante d’œuvres peintes, actuellement en pratique privée à Washington, DC. Elle a travaillé au Smithsonian American Art Museum, au Museum of Fine Arts de Boston, à la Chrysler Gallery of Art, au Walters Art Museum et à la Corcoran Gallery of Art. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eCharmaine A. Nelson is Provost Professor of Art History at the University of Massachusetts Amherst and the founding Director of the Slavery North Initiative, which supports research on the study of Canadian Slavery and slavery in the American North. She was previously Professor of Art History and a Tier I Canada Research Chair in Black Diasporic Art and Community Engagement at NSCAD University, where she founded the Institute for the Study of Canadian Slavery. Her books include \u003ci\u003eTowards an African Canadian Art History: Art, Memory, and Resistance\u003c\/i\u003e and \u003ci\u003eSlavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica\u003c\/i\u003e. \u003c\/p\u003e\u003cp\u003eCharmaine A. Nelson est vice-principale et professeure d’histoire de l’art à l’Université du Massachusetts (Amherst). Elle a fondé et dirige la Slavery North Initiative, qui finance la recherche sur l’esclavage au Canada et dans le nord des États-Unis. Elle a été en outre professeure d’histoire de l’art et titulaire de la chaire de recherche de niveau I sur l’art de la diaspora noire et l’engagement communautaire à l’Université de l’École d’art et de design de la Nouvelle-Écosse, où elle a fondé l’Institute for the Study of Canadian Slavery. Elle est l’autrice de deux ouvrages : \u003ci\u003eTowards an African Canadian Art History: Art, Memory, and Resistance\u003c\/i\u003e et \u003ci\u003eSlavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica\u003c\/i\u003e. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eHarvey Whitfield is an Early American historian. He has taught at the University of Vermont and the University of Calgary. He currently works at King’s College (Halifax, Nova Scotia). Whitfield is the author of several books including \u003ci\u003eBlacks on the Border: The Black Refugees in British North America, 1815–1860\u003c\/i\u003e; \u003ci\u003eNorth to Bondage: Loyalist Slavery in the Maritimes\u003c\/i\u003e; \u003ci\u003eBiographical Dictionary of Enslaved Black People in the Maritimes\u003c\/i\u003e; \u003ci\u003eBlack Slavery in the Maritimes: A History in Documents\u003c\/i\u003e; and \u003ci\u003eThe Problem of Slavery in Early Vermont, 1777–1810\u003c\/i\u003e. \u003c\/p\u003e\u003cp\u003eHarvey Whitfield est historien de l’Amérique coloniale. Il a enseigné à l’Université du Vermont et à l’Université de Calgary, et travaille actuellement au King’s College de Halifax, en Nouvelle-Écosse. On lui doit notamment les ouvrages suivants : \u003ci\u003eThe Black Refugees in British North America, 1815–1860\u003c\/i\u003e; \u003ci\u003eNorth to Bondage: Loyalist Slavery in the Maritimes\u003c\/i\u003e; \u003ci\u003eBiographical Dictionary of Enslaved Black People in the Maritimes\u003c\/i\u003e; \u003ci\u003eBlack Slavery in the Maritimes: A History in Documents\u003c\/i\u003e; et \u003ci\u003eThe Problem of Slavery in Early Vermont, 1777–1810\u003c\/i\u003e. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eDavid Woods is a multidisciplinary artist and arts organization leader from Dartmouth, NS. He was the organizer of Nova Scotia’s first Black History Month in 1984 and the founder of several arts and cultural organizations, including the Cultural Awareness Youth Group of Nova Scotia and the Black Artists Network of Nova Scotia.  Woods has curated pioneering exhibitions of African Nova Scotian art such as \u003ci\u003eIn This Place\u003c\/i\u003e; \u003ci\u003eThe Secret Codes: African Nova Scotian Quilts\u003c\/i\u003e; and \u003ci\u003eHidden Blackness: Edward Mitchell Bannister\u003c\/i\u003e. He is the founder of B Space Gallery (Halifax), the first commercial art gallery dedicated to African Nova Scotian art. Woods is currently writing a history of Black art in Nova Scotia. \u003c\/p\u003e\u003cp\u003eDavid Woods est un artiste multidisciplinaire de Dartmouth, en Nouvelle-Écosse. Tête pensante de plusieurs organismes artistiques, notamment le premier Mois de l’histoire des Noirs de Nouvelle-Écosse, en 1984, il a fondé plusieurs organismes culturels, dont le Cultural Awareness Youth Group of Nova Scotia et le Black Artists Network of Nova Scotia. Woods a également été commissaire d’expositions novatrices, destinées à mettre en valeur l’art africain en Nouvelle-Écosse, dont \u003ci\u003eIn This Place\u003c\/i\u003e; \u003ci\u003eThe Secret Codes: African Nova Scotian Quilts\u003c\/i\u003e et \u003ci\u003eNoir oublié : Edward Mitchell Bannister\u003c\/i\u003e. Il a fondé la B Space Gallery (Halifax), première galerie d’art commerciale consacrée à l’art africain de Nouvelle-Écosse. Il rédige actuellement un ouvrage sur l’histoire de l’art noir en Nouvelle-Écosse. \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003ch3\u003eDetails\u003c\/h3\u003e160 pages\u003cbr\u003ePub date: September 15, 2026\u003cbr\u003e","brand":"Gwen Manthey, Charmaine A. Nelson, Harvey Amani Whitfield, David Woods","offers":[{"title":"Hardcover\u0026nbsp;\u0026nbsp;9781773105031\u0026nbsp;\u0026nbsp;$45","offer_id":47797196030191,"sku":"9781773105031","price":45.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1403\/7679\/files\/9781773105031_FC.jpg?v=1777449622"}],"url":"https:\/\/gooselane.com\/collections\/owens-art-gallery.oembed","provider":"Goose Lane Editions","version":"1.0","type":"link"}