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Author: R. Ann Pollock
Publisher: Ottawa, National Gallery of Canada
ISBN:
Category : Art
Languages : en
Pages : 96
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Book Description
Author: R. Ann Pollock
Publisher: Ottawa, National Gallery of Canada
ISBN:
Category : Art
Languages : en
Pages : 96
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Book Description
Author: Michelle Jacques
Publisher: Black Dog Pub Limited
ISBN: 9781908966810
Category : Art
Languages : en
Pages : 207
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Book Description
Scottish-born artist Jock Macdonald initially moved to Canada to take up a lecturing position at the Vancouver School of Decorative and Applied Arts, and went on to become a key, formative figure in the Painters Eleven, a group of painters who vigorously promoted abstract painting across Canada. Released to coincide with an ambitious new retrospective exhibition organised by the Art Gallery of Greater Victoria, the Robert McLaughlin Gallery and the Vancouver Art Gallery, Jock Macdonald: Evolving Form includes contributions by academics and writers including Anna Hudson, Assistant Professor in Canadian Art and Curatorial Studies at York University, Michelle Jacques, Chief Curator at Art Gallery of Greater Victoria, Linda Jansma, Senior Curator at The Robert Mclaughlin Gallery, Oshawa and Ian Thom, Senior Curator at Vancouver Art Gallery. Previous publications dedicated to Macdonald's work have not analyzed the artist's use of colour which, as an abstractionist and later a borderline Surrealist, was arguably the most significant part of his practice. In this lavishly illustrated book colour reproductions of Macdonald's works can be seen alongside the writings of leading experts in the field of Canadian art history.
Author: Hans Hofmann
Publisher: MIT Press
ISBN: 9780262580083
Category : Architecture
Languages : en
Pages : 100
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Book Description
The writings of the "dean of the New York School of Abstract-Expressionist Painting." "The creative process lies not in imitating, but in paralleling nature; translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive and every work of art should be alive." Thus Hans Hofmann wrote nearly half a century ago. He left the Old World, Germany, for the New, at the age of 50. In 1948, when the retrospective exhibition was held at the Addison Gallery of American Art, Hofmann was 68; he had been in the United States for 18 years, a citizen for seven years. Yet he was scarcely recognized in Europe or America as an artist of significance and had never had a full-scale retrospective exhibition of his work. Beginning with a group exhibition in Germany in 1909, he had been given 12 one-man shows and had been included in four group exhibitions before the exhibit at Andover. Subsequently, he was to have 33 one-man shows and to be in over 60 group exhibitions, including the 1960 Venice Biennale, in which he was one of the four artists chosen to represent America. The catalogue of the 1948 retrospective at the Addison Gallery incorporated Hofmann's writings, all originally written in German, some pieces translated fluently, others awkwardly paraphrasing the original. He had written them over a period of 40 years for periodicals journals, or his own teaching purposes; occasionally they overlapped; there was no sequence of development. In the original volume of Search for the Real, published in 1948, it was felt desirable to edit his writing as little as possible, nevertheless to present the essays in the most lucid English true to his meaning, printed only with his approval. "The Search for the Real in the Visual Arts," "Sculpture," and "Painting and Culture" were all printed in full. The section "Excerpts from the Teaching of Hans Hofmann" was composed of selections from his essays "On the Aims of Art" and "Plastic Creation." The last brief section, "Terms," was gleaned from the other essays, lectures, diagrams, notes, and cryptic memoranda written to himself, headed by one of Hoffman's diagrams. It was a further distillation of his own definitions in the nature of a vocabulary. In the last 18 years of his life, recognition was his, nationally and internationally, in proportion to the originality and depth of his thinking, his versatility and comprehensiveness, his productivity and vigor. His was a prophetic visual expression of action in a three-dimensional world on a vibrating two-dimensional surface. He was a dynamic teacher; the wide range of his influence is to be seen in the list of artists comprising an exhibition "Hans Hofmann and His Students," circulated in America and abroad during the three years before his death in 1966. Among the 32 painters and sculptors in this exhibition were students as varied in their developed personal idioms as Helen Frankenthaler, Larry Rivers, Louise Nevelson, Richard Stankiewicz, and Alan Kaprow. Running simultaneously and also shown in South America and Europe as well as in the United States, a one-man show of 40 major works initiated by the Museum of Modern Art, New York, is a testimony to the words of the "dean of the New York School of Abstract-Expressionist Painting."
Author: Errol Morris
Publisher: Penguin
ISBN: 0143123696
Category : True Crime
Languages : en
Pages : 575
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Book Description
Soon to be an FX Docuseries from Emmy® Award-Winning Producer Marc Smerling (The Jinx) featuring the author Errol Morris! Academy Award–winning filmmaker Errol Morris examines one of the most notorious and mysterious murder trials of the twentieth century In this profoundly original meditation on truth and the justice system, Errol Morris—a former private detective and director of The Thin Blue Line—delves deeply into the infamous Jeffrey MacDonald murder case. MacDonald, whose pregnant wife and two young daughters were brutally murdered in 1970, was convicted of the killings in 1979 and remains in prison today. The culmination of an investigation spanning over twenty years and a masterly reinvention of the true-crime thriller, A Wilderness of Error is a shocking book because it shows that everything we have been told about the case is deeply unreliable and that crucial elements of case against MacDonald are simply not true.
Author: Alicia Anna Boutilier
Publisher:
ISBN: 9781553392644
Category : Painting, Canadian
Languages : en
Pages : 0
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Book Description
Founded in 1933 in reaction to the established view of the Group of Seven as the "national art of Canada", this diverse group of progressive young artists was the first to aspire to cross-Canada representation of modernist art. Yet the Canadian Group of Painters (CGP) has not entered popular lexicon as did its famous predecessor. This publication sheds new light on the artistic and social impact of the CGP in the first and most dynamic decades of its existence, from 1933 to 1953. Forty-eight paintings by forty-eight key members convey the richness of the group's practice: new visions of landscape, bold depictions of people and fresh experiments in abstraction. In contrast to the Group of Seven, the Canadian Group of Painters was engaged with modern life during the turbulent times of the Depression, World War II and post-war reconstruction thereby making it a vital force.
Author: Michelle Gewurtz
Publisher: Canadian Art Library
ISBN: 9781487102050
Category : Painters
Languages : en
Pages : 144
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Book Description
"The life and work of Canadian artist Molly Lamb Bobak."--
Author: Joyce Zemans
Publisher: Art Gallery of Ontario = Musée des beaux-arts de l'Ontario
ISBN: 9780919876729
Category : Painting, Canadian
Languages : en
Pages : 288
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Book Description
Author: Loren Ruth Lerner
Publisher: University of Toronto Press
ISBN: 9780802058560
Category : Architecture
Languages : en
Pages : 1646
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Book Description
Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.
Author: Frances Stonor Saunders
Publisher: New Press, The
ISBN: 1595589147
Category : History
Languages : en
Pages : 458
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Book Description
During the Cold War, freedom of expression was vaunted as liberal democracy’s most cherished possession—but such freedom was put in service of a hidden agenda. In The Cultural Cold War, Frances Stonor Saunders reveals the extraordinary efforts of a secret campaign in which some of the most vocal exponents of intellectual freedom in the West were working for or subsidized by the CIA—whether they knew it or not. Called "the most comprehensive account yet of the [CIA’s] activities between 1947 and 1967" by the New York Times, the book presents shocking evidence of the CIA’s undercover program of cultural interventions in Western Europe and at home, drawing together declassified documents and exclusive interviews to expose the CIA’s astonishing campaign to deploy the likes of Hannah Arendt, Isaiah Berlin, Leonard Bernstein, Robert Lowell, George Orwell, and Jackson Pollock as weapons in the Cold War. Translated into ten languages, this classic work—now with a new preface by the author—is "a real contribution to popular understanding of the postwar period" (The Wall Street Journal), and its story of covert cultural efforts to win hearts and minds continues to be relevant today.
Author: Roald Nasgaard
Publisher: Douglas & McIntyre
ISBN: 9781553653943
Category : Art
Languages : en
Pages : 464
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Book Description
In the tradition of the distinguished Douglas & McIntyre art program, this lavishly illustrated and superbly printed book is a rich, readable history of abstract painting in Canada. The story begins in the 1920s with the sometimes eccentric but remarkable work, rooted in symbolism and theosophy, of pioneers such as Kathleen Munn, Bertram Brooker and Lawren Harris. Two decades later the Automatistes-Canada's first truly independent avant-garde art movement-burst onto the scene in Montreal. After the Second World War, the urge to abstraction spread across Canada, manifesting itself in significant regional movements. Vancouver painters retained a British flavour, while in Toronto, the Painters Eleven looked south to New York. Montreal's Plasticiens launched their own razor-edged interpretation of the European tradition of geometric abstraction. In the sixties and seventies, the Prairies were influenced by Clement Greenberg's post-painterly abstraction, while Halifax became a hub of conceptual art and concrete painting. The book continues through the eighties and nineties, during which critics largely denounced painting, and concludes in the twenty-first century, with abstract painting alive and well again in the studios of Canada's young artists. A monumental tome containing 200 color reproductions, it mines a rich vein of art history ripe for international discovery.
