Michael Audain and Yoshiko Kurosawa are two of Canada's best-known art patrons: their donations are held not only by many private corporations but by many museums and galleries, including the National Gallery of Canada, and Vancouver Art Gallery. The collection contains works by a range of North America's most acclaimed artists, including Diego Rivera, Emily Carr and Brian Jungen. This is the first public exhibition of the privately held works in this collection. FEATURED WORKS Mid-nineteenth-century masks by Haida, Nuxalk, Salish, Tlingit and Tsimshian Contemporary works by such First Nations artists as Robert Davidson, Reg Davidson, Beau Dick, Richard Hunt, Brian Jungen, Marianne Nicolson and Lawrence Paul Yuxweluptun Paintings by Emily Carr, B.C. Binning and E.J. Hughes, and contemporary works by Roy Arden, Gathie Falk, Rodney Graham, Angela Grossman, Ken Lum, Takao Tanabe and Etienne Zack. Mexican modernist works by Diego Rivera, Rufino Tamayo and others.

Realism has been held up to scorn for its perceived attachment to linguistic transparency - the sense that an image can reveal the full truth of the situation or object it depicts. This skepticism was extended in the late 20th century with the rise of conceptual art and the development of critiques that proposed that, in a world pervaded with spectacular images, the task of the artist should be to deconstruct the systems through which images flow and provide critical considerations of the ways images act upon us. Residue: The Persistence of the Real is comprised of work that draws upon a documentary impulse and pursues the real as something that cannot be entirely reduced to representation, while at the same time acknowledging the mediating character of the mechanisms that shape perception. The book presents recent work in a variety of media - including photography, video and installation - by nine artists from Vancouver and elsewhere.

A comprehensive survey of a movement that had, until now, gone undiscovered. This beautifully produced book explores the work of more than 90 artists, and includes essays by six curators, a conversation with an international group of scholars, an annotated chronology, and many reproductions of conceptual artworks produced in Canada. The book is a co-publication by five of Canada's leading galleries, and represents a cross-Canada perspective.

Known for her expansive multidisciplinary approach to art making Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender and the body, as well as broader social and political issues through a practice which encompasses photography, film, video and performance. Rooted in contemporary art strategies, her practice critiques the representations of Indigenous people that circulate in art, literature and popular culture in general. In doing so, Claxton regularly combines Lakota traditions with “Western” influences, using a powerful and emotive “mix, meld and mash” approach to address the oppressive legacies of colonialism and to articulate Indigenous world views, histories and spirituality. This timely catalogue will be the first monograph to examine the full breadth and scope of Claxton’s practice. It will be extensively illustrated and will include essays by Claxton’s colleague Jaleh Mansoor, Associate Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia; Monika Kin Gagnon, Professor in the Communications Department at Concordia University, who has followed Claxton’s work for 25 years; Olivia Michiko Gagnon, a New York–based scholar and doctoral student in Performance Studies; and Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Jerry Pethick: Shooting the Sun/Splitting the Pie is the first major volume dedicated to the career of this multifaceted artist. Pethick's practice has always been difficult to categorize; though his work focused on questions of perception, which have been a central focus in the visual arts over the past four decades, his amalgamations of photography, optical devices, sculpture and drawing - as well as the structures he assembled to create new conceptions of material space - look like no other artist's work. His oeuvre has always evoked something of the amateur scientist and inventor. In the late 1960s and early 70s he became widely known for his pioneering work with holography in London and San Francisco. While he stopped working with holograms when he moved to Hornby Island, British Columbia in the mid-1970s, the nature of visual perception, the history of optics and integral (or fly's eye) photography using multiple lenses remained central to his work. Although Pethick drew upon a sophisticated in-depth understanding of science and art history, his work was constructed from modest materials and found objects, including cheap plastic Fresnel lenses, discarded sinks, hay bales, light bulbs and bicycle tires that could be found in a local hardware store or garbage dump. While Pethick's work has been included in exhibitions across Canada, Europe, the United States and Japan, this publication will accompany the first retrospective exhibition of his work.