Kashetsky documents domestic life, street life, urban landscapes, nature, and the stories of Holocaust survivors in his affecting, meditative work. Herzl Kashetskys 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. This profusely illustrated book features more than 150 drawings selected from Kashetskys 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 Kashetskys use of "the bounding line" as an aesthetic instrument for constructing and deconstructing reality, psychiatrist Ivan Silver about the artists 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 Kashetskys self-portraits as meditations on mortality. Kashetsky documente la vie domestique, la vie de rue, les paysages urbains, la nature et les histoires des survivants de l'Holocauste dans son travail meditant et emouvant. Les uvres riches et multicouches de Herzl Kashetsky sont des explorations profondes de la condition humaine. Ses portraits, ses natures mortes et ses paysages meticuleusement rendus sont d'intenses explorations de l'identite et du lieu. Ce livre abondamment illustre presente plus de 150 dessins selectionnes parmi les 119 carnets de croquis de Kashetsky, allant des portraits aux paysages, des paysages de rue aux interieurs, des cercles aux lignes aux mots qui volent a travers lunivers. Accompagnant les dessins sont des essais par l'ecrivain d'art et critique Blake Allen Bentley sur l'utilisation par Kashetsky de "la ligne de demarcation" comme instrument esthetique pour construire et deconstruire la realite, le psychiatre Ivan Silver sur le travail de l'artiste tout au long de la vie depeignant l'emotion humaine a travers l'expression faciale et ses etudes variees de la forme humaine, et ancien directeur et conservateur de la Galerie d'art Beaverbrook Terry Graff sur les autoportraits de Kashetsky comme meditations sur la mortalite.

No present without the past. No equality without feminism.Nekt wikuhpon ehpit 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.Countering 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, Nekt wikuhpon ehpit both depicts and examines the essential feminine imagery of Bear's work in their symbolic, archetypal, or representative forms.Shirley Bear's work has been featured in exhibitions throughout Canada, the United States, and Europe. Her writing has been featured in several anthologies, including Kelusultiek: Original Women's Voices of Atlantic CanadaandThe Colour of Resistance. She received the New Brunswick Excellence in the Arts Award in 2002.

Shortlisted, Best Atlantic Published Book Award and Canadian Regional Design AwardA major publication comprising 240 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition Masterworks from the Beaverbrook Art Gallery. Along 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.In 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 Dali and curator of the recent exhibition Dali: The Late Work at the High Museum of Art, examines Dali's monumental painting Santiago El Grande. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's Fountain of Indolence. 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 Hotel Bedroom. 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 Helena Rubinstein, Studies for Churchill, and Portrait of Lord Beaverbrook. Katharine Eustace, art historian and curator, whose publications include Continuity and Change: Twentieth Century Sculpture in the Ashmolean Museum, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as H.M. King Edward VIII.

Photography, sculpture, woven work, folk art, painting, found art, and more.When 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.The 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. Ekpahak brings together a synthesis of cultural traditions and artistic practise that today serves as expressions of self-determination. Photographie, sculpture, travail tissA (c), art populaire, peinture, art trouvA (c), et d'autant plus.Lorsque Terry Graff et Alan Syliboy ont decide d'enqueter sur l'art contemporain des Premieres nations au Nouveau-Brunswick, ils ont entrepris un voyage sur la route. Ils ont visite les communautes de la nation Mikmaq et les communautes de la nation Wolastoqey. Le resultat a ete une exposition et un livre, un journal qui a capture l'essence du voyage sur la route a travers les mots de Graff et les magnifiques photographies de Syliboy. Le livre capture leur rencontre a haut indice d'octane avec le musicien de heavy metal Eric Miller ; les maquettes de bateaux et les uvres d'art surprenantes de Robert Pictou ; leur visite poignante avec John Seca Labillois, qui a evoque un tambour du tronc d'un arbre vieux de 600 ans ; la collection de bois de Peter Augustine ; le site sacre de la ceremonie de Sundance a Big Cove ; et l'histoire des efforts de la famille Brooks pour rapatrier le canoe Akwiten, vieux de 200 ans. Ekpahak offre une synthese des traditions culturelles et des pratiques artistiques qui servent aujourd'hui dexpressions dautodetermination.

Shortlisted, Best Atlantic Published Book Award and Canadian Regional Design AwardA major publication comprising 256 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition Masterworks from the Beaverbrook Art Gallery.Along 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. In 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 Dali and curator of the recent exhibition Dali: The Late Work at the High Museum of Art, examines Dali's monumental painting Santiago El Grande. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's Fountain of Indolence. 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 Hotel Bedroom. 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 Helena Rubinstein, Studies for Churchill, and Portrait of Lord Beaverbrook. Katharine Eustace, art historian and curator, whose publications include Continuity and Change: Twentieth Century Sculpture in the Ashmolean Museum, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as H.M. King Edward VIII.Proof copies of 200-copy special edition of Masterworks of Beaverbrook Art Gallery. 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 Lord Beaverbrook by Graham Sutherland, this edition is designed as a keepsake for future generations.

If you love entertainment that makes you laugh out loud while highlighting the absurdity in issues that are actually pretty serious, then you'll be a big fan of this illustrated satirical fiction that is a poignant illustrated story about an aging woman's life as she reflects on passing her years in anonymity. 'Doris? You asked me who was Doris?' And then I remembered. 'Doris was the woman who worked one of our cash registers at FoodWorld, forever and maybe even longer. But nobody knew a thing about her, or even wanted to because she was plain as a post, always kept to herself, with buttoned lip saying nothing. And then we guessed one day she must be dead because for a whole week she wasn't there at the Cash. Till we heard rumor she'd left behind her house to someone she'd never known, who'd found in the house this journal full of crazy stories Doris had written, and piles and piles of drawings and paintings so fantastic you'd never believe anyone could see herself like that. The secret life of Doris Melnick! The woman not one of us knew though she'd been there all that time. So what does that mean, I wonder?' - Statement by Alice Geerson, FoodWorld clerk

Les collections d'&#156uvres d'art racontent des histoires qui refletent les interets du collectionneur et de son epoque. Chefs-d'&#156uvre 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, editeur de journaux arrogant, habile politicien, maitre de la propagande, auteur et grand philanthrope.

En 1959, sir Max Aitken inaugure a Fredericton, au Nouveau-Brunswick, la Galerie d'art Beaverbrook pour abriter une collection exemplaire de tableaux. Constitue par lord Beaverbrook lui-meme et son entourage de conservateurs et de collegues, ce noyau initial d'&#156uvres deviendra l'une des plus belles et des plus importantes collections d'art britannique en Amerique du Nord. Il comprend notamment des &#156uvres de J.M.W. Turner, Lucian Freud, Graham Sutherland et Walter Sickert, ainsi que des tableaux representatifs de Thomas Gainsborough, John Constable, John Singleton Copley, Eugene Delacroix, Joshua Reynolds et Salvador Dali, qui temoignent du caractere distinctif et de la qualite de la remarquable collection de la Galerie.

Ces &#156uvres importantes sont reunies pour la premiere 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'&#156uvre, signes par six critiques renommes?: Elliott H. King, historien de l'art et specialiste de Dali; James Hamilton, auteur de "Turner: A Life"; 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.

Pour clore l'ouvrage, le journaliste Marty Klinkenberg et le directeur general de la Galerie d'art Beaverbrook, Bernard Riordon, retracent les peripeties du differend opposant le musee et les deux fondations Beaverbrook.