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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.
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