Carleton University Art Gallery
CARLETON UNIVERSITY ART
GALLERY
Construction Work: Josée Dubeau, Lorraine Gilbert & Jinny Yu
Petra Halkes
Although the three Canadian artists work in different media, this publication documents a shared passion for ideas of space, place, and the built environment. Working from Derrida’s notion of deconstruction, Halkes argues that an underlying longing for harmony can be found in Gilbert’s photographs, Yu’s wall paintings, and Dubeau’s constructions. Recognizing the constructivist impulse they share, she finds that they “have sifted through the rubble of Modernist and Romantic dreams to discover desires that remain undemolished; these they set into new constructions, where they can be re-examined for their utopian value.”
Carleton University Art Gallery (03/2010) 56 pp col. ill. 9 x 6 in hardcover 978-0-7709-0537-8 $25.00 Can. $30.00 U.S. (20 euros)
Michèle Provost: Selling Out
Sandra Dyck
Provost’s reflection on the tensions between art and consumer culture is even more striking due to one of her chosen mediums: embroidery. The installation discussed here is composed of hand-sewn trading cards and other action-hero paraphernalia as well as reproductions of works by art-world heroes from Bosch to Daumier and Warhol to General Idea. By drawing on contrary spheres - collectibles, advertising, the museum, toys, merchandising, and art - and by combining meticulous hand-stitching with popular culture, Provost belongs to an established lineage of artists whose direct address of commercial culture simultaneously declares and calls into question its perpetual advance.
Carleton University Art Gallery (01/2010) 58 pp col. ill. 9 x 6 in hardcover 978-0-7709-0539-2 $25.00 Can. $27.95 U.S. (20 euros)
Sanattiaqsimajut: Inuit Art from the Carleton University Art Gallery Collection
Sandra Dyck, Ingo Hessel et al
Ottawa’s Carleton University Art Gallery holds one of the richest Inuit art collections in the country. This profusely illustrated hardcover publication features over 100 works - each one reproduced in fill colour - ranging from sculpture to drawings and prints, all of which are “Sanattiaqsimajut”, or “things that are finely made”. Two major essays discussing the history of the collection and its many narrative threads are accompanied by thirty-three individual texts that take distinctive thematic, biographical and formal approaches. These essays are written by experts in the field including Patricia Feheley, Robert Kardosh, Christine Lalonde, Marybelle Mitchell, Judith Nasby, Crystal Parsons, Leslie Boyd Ryan, Pitaloosie Saila, Norman Vorano, Darlene Coward Wight and Norman Zepp. Sandra Dyck is curator at the Gallery and author of numerous studies on the collection. Ingo Hessel is curator at Toronto’s Museum of Inuit Art and author of Inuit Art: An Introduction.
Carleton University Art Gallery (12/2009) 232 pp 125 col. ill. 11 x 9 in hardcover 978-0-7709-0533-0 $60.00 Can. $68.00 U.S. (50 euros)
Howie Tsui’s Horror Fables
Emily Falvey
This first monograph on the work of Howie Tsui documents a multi-media exhibition centered upon his large-scale drawings and wall paintings. Presented in the form of Ming Dynasty scrolls, the work is informed by Asian ghost stories, Buddhist hell scrolls, Hong Kong vampire films and neo-conservative propaganda. Questioning ideas of identity and cultural assimilation through the subversive mode of the horror fable, Tsui imagines fabulous landscapes peopled by monsters and demons whose grotesque character is offset by the exquisite refinement of his drawing and painting.
Carleton University Art Gallery (11/2009) 38 pp col. ill. 7 x 8 in softcover 978-0-7709-0532-3 $20.00 Can. $22.95 U.S. (16 euros)
Sandra Meigs: Strange Loop
Diana Nemiroff with Sandra Meigs
Meigs’s new paintings of architectural interiors are based on her studies of 19th-century Shingle Style mansions in Newport, Rhode Island. The Shingle Style emerged as an authentic American architectural style and precursor to modernist architecture in the 1880s. The drawings, however, shift our attention from architectural form to psychological content and Meigs approaches the underlying psychological dimension in these spaces with her signature comic gestalt. Though they initially appear empty, these complex interiors are replete with primitive themes of love and death, innocence and sexuality, reverie and nightmare.
Carleton University Art Gallery (11/2009) 48 pp col. ill. 9 x 7 in softcover 978-0-7709-0534-7 $25.00 Can. $27.95 U.S. (20 euros)
Alexandre Castonguay & Mathieu Bouchard: Reverse Engineered / Rétro-ingénierie
Nicole Gingras
Alexandre Castonguay works in digital photography and computerized installation. Mathieu Bouchard is a digital arts engineer. Together they have created an interactive work developed from computer-aided silkscreen prints made in the 1970s by pioneers of the genre. Bouchard has designed software to analyze the prints in order to formulate the rules of their creation and create new artworks. Castonguay has analyzed the original texts and diagrams with readymade and Open Source software. The resulting work poses fundamental questions regarding today’s digital art practice, such as the action of the artist versus that of the machine and the end of the authority of the object. In English and French.
Cette publication expose la production récente de Castonguay et Bouchard, collaborant à la réalisation d’installations interactives depuis près de dix ans. L’exposition met en lumière des œuvres sur papier, sérigraphies créées par ordinateur dans les années 1970 par des pionniers de cet art, avec lesquelles les artistes ont choisi d’entretenir un dialogue. Par ce geste, ils souhaitent non seulement attirer le regard vers les œuvres innovatrices oubliées mais aussi évoquer une filiation entre les modes de conception et de développement de ces œuvres et leur propre démarche de création. En français et anglais.
Carleton University Art Gallery (07/2009) 68 pp 20 col. ill. 9 x 7.5 in softcover 978-0-7709-0531-6 $25.00 Can. $26.95 U.S. (18 euros)
Pascal Grandmaison: Le grand jour / Double Take
Sara Knelman & Diana Nemiroff
Known for his coolly distanced photographic portraits, Grandmaison’s new work explores the connections between the economy of the image – its materials and formal and technical conventions – and the social and economic structures that govern our everyday environment. In videos and photographs, Grandmaison’s crisp minimalist aesthetic scrutinizes the beauty, form and limitations of his subjects. His video works are beautifully choreographed explorations of the boundaries between space and emotion, progress and history, and moving and still images. Turning the lens on the mechanisms of his craft, new large-scale photographs depict details from the instruments of image making – lenses, battery packs, depth of field diagrams – rendering them both intimate and monumental. This abundantly illustrated monograph follows the artist’s interrogation of the mechanics of film and photography, as well as the tensions between the realism of the images and the abstract codes underlying their representation. In English and French. Winner of the Grand Prize in the category of exhibition catalogue design in Concours Grafika 2010.
Cette monographie présente les nouvelles oeuvres du photographe et cinéaste. Surtout connu pour ses portraits empreints de recul, Grandmaison explore les liens entre l’économie de l’image – ses matériaux et ses conventions formelles et techniques – et les structures socioéconomiques qui régissent notre monde quotidien. Il se penche sur les tensions entre le réalisme des images captées et les codes abstraits qui fondent leur représentation. En français et anglais. Gagnant du grand prix dans la catégorie catalogue d'exposition du Concours Grafika 2010.
Carleton University Art Gallery / Art Gallery of Hamilton (02/2009)
164 pp col. ill. 10.5 x 7 in hardcover 978-0-7709-0524-8 $40.00 Can. ($42.95 U.S. / 28 euros)
Invention and Revival: The Colour Drypoints of David Milne and John Hartman
Rosemarie Tovell, Anne-Marie Ninacs, John Hartman & David Milne Jr
Upon his death in 1953 David Milne was hailed by art critic Clement Greenberg as one of the greatest artists of the time. Among Milne's many achievements was the invention of the multiple-plate colour drypoint. This entirely new process was the simplest of techniques. Lines are scratched into copper or zinc plates, creating a residual metal "burr" that later catches the ink, creating soft lines more akin to drawing than to the finely detailed lines of etching or engraving. Milne exploited his invention to gorgeous effect but despite - or perhaps because of - his mastery of it, other artists did not follow suit. Decades later, John Hartman was inspired to take up the technique and has produced a remarkable body of prints that shares much in common with Milne's oeuvre, in aesthetic, geographic, and spiritual terms. In order to explore the affinities between the two artists, this publication brings together forty-two prints by Milne and Hartman, including Hartman's spectacular Cities series, which demonstrates his continuing drive to push the limits of the drypoint technique. Two scholarly essays and a conversation between John Hartman and the son of David Milne are accompanied by forty-two full-page colour plates. Rosemarie Tovell is former curator at the National Gallery of Canada and a leading authority on David Milne. Anne-Marie Ninacs is former curator of contemporary art at the Musée national des beaux-arts du Québec.
Carleton University Art Gallery (11/2008) 144 pp 42 col. ill. 8.5 x 10.5 in hardcover 978-0-770905-26-2 $55.00 Can. ($60.00 U.S. / 44 euros)
A Pilgrim's Progress: The Life and Art of Gerald Trottier
Sandra Dyck
The life work of Gerald Trottier (1925 - 2004) could be considered as a journey over many landscapes: the body, the soul and the human condition. His passionate quest for knowledge is exhibited in the many mediums of which he was a prolific and powerful master: drawing, water and oil painting, print-making and sculpting. This first in-depth examination of Trottier’s life and art discusses over fifty years of production, including the early Social Realist works, the “Medieval period” of the 1950s, the imposing expressionist paintings he exhibited at the 8th São Paulo Biennial in 1965, and the realist paintings he made in the mid-1960s. Trottier’s innovative liturgical design work is also explored in detail. The essay concludes by considering two major bodies of monumental paintings Trottier made late in his career - his self-portraits and his Easter Series.
Carleton University Art Gallery (09/2008) 114 pp 30 col. ill. 9 x 6 in hardcover 978-0-7709-0525-5 $30.00 Can. ($32.95 U.S. / 24 euros)
Anthem: Perspectives on Home and Native Land / Hymne : Points de vue sur la terre de nos aïeux
Ryan Rice
Artists from across Canada identify varying forms of nationhood that either serve or detract from the concept of a national accord. Each artist explores the discourse to include not only colonial histories, but also distinctive and multicultural liberties such as treaties, blood, languages, sexual orientation, faith, and oral traditions. The dynamic range of art works exhibited expose and accept the diverse forms of nationalism that exist across the country. In English and French.
Sept artistes de milieux culturels divers et de régions géographiques différentes se réunissant en chorale hétérogène pour donner leurs réponses à la provocante question du sens de l'appartenance au Canada. En français et anglais.
Carelton University Art Gallery (02/2008) 64 pp col. ill. 11 x 9 in hardcover 978-0-7709-0519-4 $25.00
Tom Bendsten: Argument #4 (b)
Petra Halkes
Bendsten's monumental book structures are concerned with colour
and form as a method of ordering texts. This particular work,
Argument #4 (b), includes a life size mechanical baby bird, with
nest, mounted within the ceiling. The bird functions as a centre
in constant need of sustenance and attention. The viewer and bird
strain towards each other, one to understand, the other to be fed,
both for nourishment. In her essay, Halkes situates the artist at
a point of reconciliation between the social construction of
culture and the social-biological arguments that extend to the
cognitive sphere.
Carleton University Art Gallery (01/2008) 46 pp col. ill. 7.5 x
5.5 in softcover 978-0-7709-0517-0 $15.00
Damian Moppett : The Fall of the Damned / La chute des damnés
Diana Nemiroff & Melanie O'Brien
Living and working in Vancouver, Damian Moppett is at the forefront of a new generation of artists spawned by this fertile city and only indirectly linked to an earlier group of artists known as the Vancouver school. This monograph provides an opportunity for a closer look at the work of this protean photographer, filmmaker, painter, potter and sculptor whose works reference art of the past and present as well as popular culture, personal history and craft. With new works conceived especially for this exhibition - primarily sculpture and watercolours - Moppett explores the nature of authenticity and authorship. Among the artists providing fuel for thought are Rodin, Brancusi and Henry Moore. In English and French.
Vivant et travaillant à Vancouver, Damian Moppett compte parmi les chefs de file d'une nouvelle génération d'artistes qui ne doit rien directement à la génération précédente surnommée l'école de Vancouver. Cette monographie représente une rare occasion d'examiner plus attentivement le travail de cet artiste protéiforme - photographe, cinéaste, peintre, potier et sculpteur - dont les œuvres citent l'art du passé et du présent, l'artisanat, le récit personnel, et la culture populaire. En français et anglais.
Carleton University Art Gallery (10/2007) 96 pp 37 ill. (30 col). 10.5 x 8 in softcover 978-07709-0515-6 $35.00 Can./U.S. (28 euros)
Nichola Feldman-Kiss: Mean Body
Kim Sawchuck
In a practice defined by the artist as "an expanded performance of self-portraiture", Feldman-Kiss's current work has been generated by her posing for a three-dimensional whole body laser scanner. The resulting database was used to generate multiple representations of her body-figure in a variety of media: video animation, an expansive grid of ink-jet prints, a group of sculptures and several back-lit transparencies. In this first monograph dedicated to Feldman-Kiss, Sawchuck investigates the psychological, social and feminist components of her work.
Carelton University Art Gallery (03/2007) 48 pp 18 ill (10 col.) 8.5 x 6.5 in softcover 978-0-7709-0512-5 $25.00 Can./U.S. (20 euros)
Glenna Matoush: Requicken
Ryan Rice & John Grande
Ojibway artist Glenna Matoush was trained as a printmaker but now works primarily as a painter. Her expressionistic style moves fluidly between the figurative and the abstract and her work is informed directly by nature through the integration of birch bark, leaves, earth and stones into her work. Matoush addresses contemporary social and political Aboriginal issues, including the environmental destruction she has witnessed in Cree territory in Northern Quebec, and the despair caused by AIDS and the reclamation of culture. This first monograph on the work of Glenna Matoush contains essays by Ryan Rice, Aboriginal curator in residence at the gallery, and by well-known arts writer John Grande.
Carleton University Art Gallery (09/2006) 40 pp 18 col. ill. 9 x 7.5 softcover ISBN: 0-7709-0210-2 $20.00 Can./U.S. (16 euros)
Pam Hall: New Readings in Female Anatomy
Sandra Dyck
Pam Hall's multi-dimensional installation takes the form of a reading room in which old meanings of the female body are deconstructed and new meanings are discovered. The project includes prints and drawings, books, prose and poetry, sound and sculpture assembled in the guise of a space for higher learning. By using the format of the textbook and anatomical prints, Hall challenges the authority of traditional western medicine over the female body. Hall's project was augmented by a two year artist residency at Memorial University's School of Medicine in St. John's, Newfoundland. The author situates "New Readings" in relation to Hall's earlier work and to feminist re-readings of modern scientific and philosophical texts. Published with The Rooms Provincial Art Gallery.
Carleton University Art Gallery (11/2006) 60 pp 14 col. ill. 9 x 8 in Hardcover 0-7709-0489-0 $30.00 Can./U.S. (24 euros)
Anne Beam: Motherlines
Claudette Lauzon
Catalogue of an exhibition of prints incorporating the many symbols and icons of motherhood, ranging from traditional Christian and Chinese Buddhist and contemporary secular. Accompanied by en essay by Lauzon wherein she discusses the politics and poetics of motherhood. Born in New York, Ann Beam lives on Manitoulin Island, Ontario with fellow artist Carl Beam.
Carelton University Art Gallery (2003) 32 pp 6 col. ill.6.5x5 in 0770904866 $15.00 (Can./U.S.)
Vera Greenwood: L'Hotel SofiCalle
Sandra Dyck
Canadian artist Vera Greenwood traveled to Paris in order to follow French artist Sophie Calle who, sixteen years earlier, had followed strangers and even had herself followed as part of an ongoing project. Greenwood's interest was in the concept of the gaze. Does anything or anyone have an objective reality? Calle knew when the detective was following her, so how did that affect her activities for the day? The publication presents an essay, artist's notes, photographs and artifacts of the expedition.
Carleton University Art Gallery (2002) 48 pp 21 ill. 8x6 in softcover 0770904599 $20.00 (Can./U.S.)
Robert Houle's Palisade
Michael Bell
.
Houle's visual arts practice applies formalist demands to activist initiatives to review the history of the interactions of the North American Indian and the colonizers. The eight large vertical canvases that make up Palisade represent the eight forts captured by Pontiac's Confederacy in 1763. Through the addition of digital graphic collages and historical documentation, Houle powerfully relates the colonial army's retaliation to these defeats: the systematic introduction of plagues, especially smallpox. Dyck's essay provides an interpretation of the work and its historical context. Robert Houle, a Manitoba native, has exhibited widely, notably at the Museum of Contemporary Canadian Art and The Art Gallery of Ontario.
Carleton University Art Gallery (2001) 42 pages, 12 col. ill., 8x9 in. 077090453X softcover $20.00 (Can./U.S.)
Provocation to Conversation: The Lithography of Otis Tamasauskas 1984-1997
John Potvin.
Potvin looks at the work of the lithography teacher and studio founder as a pivotal force within the larger context of printmaking in North America - from the boom in the 1970s through the downturn in the late 1980s to today's revival. Tamasauskas' neo-expressionist work itself is noted for its investigation into both technology and autobiography. Otis Tamasauskas has taught at Queen's University and exhibited across the country.
Carleton University Art Gallery (2001) 34 pages, 12 col. ill., 8x6 in., 077090453x softcover $15.00 (Can./U.S.)
Body Language
Sandra Dyck.
An exploration of the visual languages in the work of eleven young artists who work with, in and around the theme of the body. While acknowledging that there is not one universal concept of the body Dyck navigates through this eclectic range of work by creating four loose trajectories: the Exterior Body ("outside the body"), "The Interior Body ("under its skin"), The Body and Identity ("the body and the construction of identity"), and The Urban Body ("its being in the world").
Carleton University Art Gallery (2001) 54 pages, 15 col. ill., 9x7 in., 0770904394 softcover $25.00 (Can./U.S.)
Jan Allen's Speculative Science
Sandra Dyck.
The thrust of the artist's sculptural work is a hybrid of physicality and cybernetics and the essayist focuses on Allen's relations between the biological, psychological and technological aspects of identity.
Carleton University Art Gallery (1999) 16 p., 5 ill., 8x8 in 0770904238 $12.00
Adrift With the Alphabet: The ABCs of Alex Wyse
Sandra Dyck.
Twenty-six sculptures reprise the artist's primary alphabet experience. The deceptively whimsical oeuvre recalls past experience and articulates a three dimensional personal history, with letters and their accompanying shapes and objects reflecting both happy and unhappy times. Born in England, Alex Wyse emigrated in the 1960s, spending many years living and working in the Canadian North.
Carleton University Art Gallery (1999) 34 p., 8 ill., 9 x 6 in. 0770904548 $12.00
Four Women Who Painted in the 1930s and 1940s.
Alicia Boutilier.
In an effort to address the imbalance in Canadian art history, Boutilier focuses on women's art clubs in pre-war Toronto and specifically on the careers of Rody Kenny Courtice, Bobs Cogill Haworth, Yvonne McKague and Isabel McLaughlin.
Carleton University Art Gallery (1998) 61 p., 11 ill., 9x6 in 0770904548 $15.00
The Arctic Lithograph: Inuit Prints from the Collection of the Carleton University Art Gallery.
Jennifer Cartwright & Jessica Tomic-Bagshaw.
Cartwight provides a brief history of the introduction of graphic art into Canada's Arctic and Tomic-Bagshaw interviews master printmaker, Pitseolak Niviaqsi.
Carleton University Art Gallery (1998) 23 p., 8 ill., 9x6 in 0770904483 $15.00
The Shadow Secured: Tintypes from a Private Collection
Irwin Reichstein.
An essay on the origins and development of this 19th century photographic alternative to the Daguerreotype is accompanied by addendums on making, framing and dating. The illustrations include many Canadian examples.
Carleton University Art Gallery (1998) 19 p., 8 ill., 9x6 in 077090436x $8.00
A Stroke of Genius: The Invention and First Century of Lithography
Jan Johnson.
The author provides an historical context for the invention of lithography and follows its growth at the hands of various artists and printers.
Carleton University Art Gallery (1998) 50 p., ill., 8x8 in 0770904521 $20.00
Romancing the Stone: The Lithographs of Frederick Hagan.
Michael Bell.
In order to celebrate the 200th anniversary of the invention of lithography, the gallery has chosen to highlight the work of Canadian artist Frederick Hagan. Hagan has produced ceaselessly since the 1940s and has influenced all subsequent practitioners of the art. Dozens of full page illustrations.
Carleton University Art Gallery (1998) 60 p., ill., 8x8 in 0770904505 $20.00
The Whole Hogg: Drawings by Barry Callaghan.
MIchael Bell & Vera Frenkel.
Two essays reveal how the use of text both underlines and undercuts the artist's preoccupation with the sensual, the base and human passions. Copiously illustrated with colour plates.
Carleton University Art Gallery (1997) 58 p., ill., 8x8 in 077090442x $20.00
Making Art Work in Cape Dorset
Shannon Bagg.
A look at the influence marketing and the spectacular commercial success has had on the style and character of Inuit art.
Carleton University Art Gallery (1997) 44 p., 23 ill., 0770904289 $15.00
Qiviuq: A Legend in Art
Jennifer Gibson
The essay presents a sequence of the Qiviuq stories of the Canadian north as a complement to the works in the exhibition of Inuit prints and sculpture from several Arctic communities.
Carleton University Art Gallery. (1996) 58 p., 10 ill., 9x6 in 0770903959 $15.00
Lasting Impressions: The Canadian Printmakers' Showcase, 1969 to 1974
Deborah Burrett.
A history of contemporary printmaking in Canada.
Carleton University Art Gallery . (1996) 40 p. ill., 9x6 in 0770904149 $15.00
Making Faces: Canadian Portaiture Between the Wars
Marielle Aylen
The writer discusses the social construction of individual identity as it appears in works by various Canadian painters.
Carleton University Art Gallery (1996) 38 p., ill., $10.00
Leslie Reid: Surfacing
Sandra Dyck
Reid's new paintings address the figure and the emotional aspects of maternity.
Carleton University Art Gallery. (1996) 32 p., ill., 8x8 in 077090405X $16.00
Graphic Design in Canada Since 1945
Brian Donnelly
The essayist searched the archives and the basements of Canada's leading graphic designers between 1945 and the early 1970s for the examples exhibited.
Carleton University Art Gallery (1996) 56 p., ill., 0770904092 $15.00
Speculative Fictions: the Photomontages of Graham Metson, 1955-1995
James D. Campbell
Metson's photomontages address contemporary topics with an accent on the future applications of technology, mass media, and the information highway. The notion of prophecy is not far-fetched in the case of Metson's work as Campbell observes in his essay.
Carleton University Art Gallery. (1996) 32 p., ill., 8x8 in 0770904076 $16.00
The Other Alberta Sculpture: Catherine Burgess,Isla Burns, Peter von Tiessenhausen.
Michael Bell.
The sculptors were selected to show that the conventional notion of Alberta sculpture as only modernist and formalist is being accented with more complex practices.
Carleton University Art Gallery. (1995) 54 p., ill., 8x8 in 0770904009 $20.00
From Iceberg to Iced Tea.
Victoria Henry and Shelley Niro (et al).
The co-curators record through their correspondence their experience organizing an exhibition of thirteen First Nations and Inuit photographers and filmmakers.
Carleton University Art Gallery. (1994) 52 p., ill., 9x7 in 0770903622 $12.00
Alex Colville: Being Seen (Out of print)
Michael Bell.
Carleton University Art Gallery. (1994) 70 p., 32 ill., 8x8 in 077090341X $25.00
Patiently I Sing:Selections from the Tyler/Brooks Collection of Inuit Art.
Marion E. Jackson (ed).
This publication documents an exhibition of Inuit prints by women artists selected from the collection of Priscilla Tyler and Maree Brooks.
Carleton University Art Gallery. (1994) 62 p., ill., 7x4 in 0770903665 $5.00
Kanata: Robert Houle's Histories
Michael Bell
The book documents a native artist's response to the icon of Canadian History: Benjamin West's The Death of General Wolfe in the National Gallery of Canada, and contains an extensive interview with the artist.
Carleton University Art Gallery (1993) 27 p., ill. $20.00
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