Museum London
Museum London
Max Streicher: Mammatus
Jeanne Randolph, Mary Reid & Melanie Townsend
Streicher's
inflatable installations have a commanding presence. Constructed out
of nylon and vinyl, his soft sculptures embody the billowing skies of
Constable and Turner and the cherubs of Raphael. Particularly when
hung within baroque architectural environments, his pieces add a
powerful physical dimension to the eighteenth-century view of
painting as a staged fiction intended to heighten the imagination.
Max Streicher has exhibited In Berlin, Madrid, Sao Paulo and New
York.
Museum London / The Winnipeg Art Gallery (02/2007) 56 pp 24 col. ill. 10x8 in softcover 978-0-889152-36-6 $12.95 Can./U.S. (10 euros)
Garry Neill Kennedy: Superstar Shadow (1984-2005)
Diana Nemiroff et al
Garry Neill Kennedy holds a unique distinction among Canadian artists. As president of the Nova Scotia College of Art and Design for 23 years, he transformed it from a small conservative art school to an internationally renowned institution. As an early proponent of conceptual art, he has created a large body of work in which he uses painting as a way of gaining insight into the nature of a place. This handsome publication testifies to his unparalleled dual contribution to Canadian art. Created over many years, Kennedy's 'Superstar Shadow' exhibitions embody his career-long project of intellectually and perceptually responding to the conditions of site. This publication brings these diverse projects together for the first time, revealing the breadth, richness and complexity of Kennedy's work. The profusely illustrated volume features texts by some of the country's leading curators notably Diana Nemiroff, Jeff Spalding, Stephen Horne, Roald Nasgaard, Robin Metcalfe, Susie Major, Melanie Townsend, Ray Cronin, Peter Dykhuis as well as writings by Kennedy himself. Produced in association with the Art Gallery of Nova Scotia, Museum of Contemporary Canadian Art, Owens Art Gallery and the National Gallery of Canada.
Museum London (11/2006) 144 pp 68 col. ill. 10.5 x 8 in softcover 978-1-89721509-8 $35.00 Can./U.S. (28 euros)
Wyn Geleynse: A Man Trying to Explain Pictures
Sylvain Campeau, Philippe Dubois et al
For more than 25 years Wyn Geleynse's multimedia installations (a mix of cinema, video, photography and sculpture) have explored the frailty of masculine identity. Often using himself as his own subject, Geleynse makes the male the object of the gaze, depicting him as despicable, pitiful and transparent but also endearing and empathetic. Aside from different mediums, Geleynse achieves his results through the use of symbolism, primarily in the form of toys, to relay to the observer the idea of coming of age. Four essays, each focusing on a different espect of this multi-faceted career, provide a thorough overview of a long and very particular practice. In English and French.
Depuis plus de 25 ans, Geleynse a recours au cinéma, à la photographie, à la vidéo et à la sculpture afin de créer des installations qui interpellent ses idées au spectateur. Quatre textes étudient les liens entre les dispositifs cinématographiques et l'importance du récit dans l'œuvre de Geleynse ainsi que le lien à la culture populaire qui imprègne les œuvres de l'artiste. En français et anglais.
Museum London (05/2006) 64 pp 40 col. ill. 9 x 8 in Hardcover 1-897215-05-3 $25.00 Can./U.S. (20 euros)
Colette Urban: Recalling Belvedere
Robert Bean & Colleen O'Neill
Recalling Belvedere is a performance and film installation exploring the artist's attachment to the landscape and culture of Newfoundland. Its social structure, its extended community, and its memory serve as reminders that Newfoundland was once a proud matriarchal society before European colonisation.
Museum London (05/2006) 30 pp 26 ill. (25 col.) 9 x 8 in softcover 1-897215-03-7 $12.95 Can./U.S. (10 euros)
Just My Imagination
Daina Augaitis, Louise Déry, David Liss et al
Publication of a cross-country exhibition dedicated to the recent resurgence of drawing. No longer shunted to the edges of contemporary art, drawing is reconfiguring itself as a self-sufficient practice that thrives on its own or even in an interdisciplinary environment. The work of the 14 artists presented here testifies to drawing's ability to incorporate other media and disciplines, including installation and performance. Includes essays and statements by some of the country's most prominent curators, notably Daina Augaitis (Vanvouver Art Gallery), Louise Déry (Galerie de l'Université du Québec à Montréal) and David Liss (Museum of Contemporary Canadian Art). With work by Stephen Andrews, Sheila Butler, Cathy Daley, Raphaëlle de Groot, Ed Pien and more.
Museum London (2005) 72 pp 46 col.ill. 10 x 8.5 in softcover 1-897215-00-2 $14.95 Can./U.S. (12 euros)
An Intimate Circle: The F.B. Housser Memorial Collection
Alicia Boutilier
Frederick Houser (1889-1936) was a colleague, a collector and an historian of The Group of Seven. His 1926 publication A Canadian Art Movement: The Group of Seven was not only the first on the subject but also the first ever to identify and document a movement in Canadian art. Boutilier recounts the life and times of Houser, his wife Yvonne McKague and his friends, notably Lawren Harris. Published in celebration of the 85th Anniversary of the Group of Seven.
Museum London (2005) 32 pp 16 col. ill. 9.5 x 6.5 1-895800-99-4 $10.95 (9 euros)
Florence Carlyle: Against All Odds
Joan Murray
Florence Carlyle (1864-1923) was one of the outstanding portrait and genre painters of her age. Born in Cambridge Ontario, she studied painting in Paris and London and at one point had a studio in New York City. Her often large and imposing narrative treatments are viewed as part of the missing history of the representation of women created by a woman who loved women. Murray's probing essay is amplified by a detailed personal and artistic biography of Carlyle, including her descendence from British philosopher Thomas Carlyle. Joan Murray is one of Canada's most prolific authors of Canadian art history.
Museum London (2004) 96 pp 20 col. ill. 7 x 10 in softcover 1-895800-96-X $19.95 Can./U.S. (16 euros)
Evan Penny: Absolutely Unreal
David Clark & Nancy Tousley
The South African-born Toronto based artist has pursued a singular career for over twenty five years. His goal has been to create sculptural art based on the human figure and yet remain resolutely contemporary. His solution, as the title suggests, is a practice based on hyper-real human figures created from silicone, pigment, fabric and human hair. Two essays explore the influences of photography and painting on Penny's practice as well as other aspects of his work.
Museum London (2004) 64 pp 32 col. ill. 9.5 x 7.5 in softcover 1-895800-89-7 $29.95 Can./U.S. (24 euros)
Boys With NeedlesAnne-Marie Larsen & Robin Metcalfe
Catalogue of an exhibition of four gay male artists who use fibre to express their sexual philosophies and to incite dialogue about the role of queer culture in religion, technology, media and the arts. Two essays elucidate the intentions and ramifications of the artistic production of David Grenier, Neil MacInnis, Thomas Roach and Patrick Traer.
Museum London / Textile Museum of Canada (2003) 16 pp 10x7 in 9 col. ill. 1895800838 $5.95 Can./U.S
From Here: New York City Paintings by Susanna Heller
Gary Michael Dault and Matthew Teitelbaum
Susanna Heller, ex-New Yorker currently living in Canada, spent fifteen months in 1998 and 1999 in the World Views residency program which was located on the 91st floor of Tower 1 of the World Trade Center. The large scale paintings she produced during that time depict the city and the Towers from this privileged aerial view and convey "stories...in all their glory and tragedy, in all their beauty and ugliness." Accompanied by an interview with Matthew Teitelbaum, director of the Art Gallery of Ontario.
Museum London (2002) 48 pp 20 col. ill. 10.5x6 in softcover 189580757 $12.95
The Donnelly Project
Andrew T. Hunter
A reconsideration of the Donnelly family who fled famine in Ireland to start a new life in Canada, where they established a reputation for crime and violence, with the image of the family as evil persisting to the point of folklore. The Donnelly Project responds to the Donnelly story and its history of interpretation and representation with installation pieces and works by Andrew T Hunter, Susan Detwiler and Robert Harris.
Museum London (2002) 30 pp 20 col. ill. 9.5x7 in 189580079x $7.00
Between You and Me
Patricia Deadman & Debra Prince
Insight into the work of ten Canadian Aboriginal artists is provided by First Nations curator Patricia Deadman and Debra Prince, co-founder of Urban Shaman and a coordinator at the Banff New Media Institute. Identifying the key thrust behind this large and varied oeuvre as the control of cultural truths, Deadman maintains that Native contemporary artists are creating a new space from both Native and non-Native cultures. "Modernist art by contemporary Indian artists offers access to Native perceptions through a cultural language that has been forged between the two views of art." Prince's intimate account of her struggle as a Native woman artist, curator and organizer is presented as a personal and collective experience. Artists include George Littlechild and Fair Skinned Indian Productions. With artist statements and biographies.
Museum London (2002) 66 pp 23 col. ill. 9x8 in softcover 1-895800-73-0 $12.95 (Can./U.S.)
Tim Zuck: Learning to Talk
Katherine Glover, Jeffrey Spalding & Gordon Hatt
Tim Zuck's exquisite realist renditions of landscape and people are included in some of the most important art collections in Canada. Three essayists deconstruct these deceptively simple paintings, almost always predicated by horizons and the sea. Tim Zuck is Chair of Foundation Studies at the Alberta College of Art & Design.
Museum London (2002) 48 pp 15 col. ill. 8x5.5 in softcover 1895800773 $12.95
Store: Three Projects by Patrick Mahon
Robin Metcalfe, Tila Kellman & Shirley Madill
Mahon's paintings, banners and "wraps" explore the concepts of exhibition and exchange as they are embodied in a retail outlet - specifically the gallery shop. His gift shop and public art projects dissect the gallery's relationship to everyday life, consider questions about commodity culture, and advance the notion of the artwork as "gift". Developing a graphic design based on Canadian modernist abstract paintings, he has created banners that are installed in various public sites as well as a limited edition of gift-wrap available, of course, only in the shops. Three essays discuss three distinct projects.
Museum London / Art Gallery of Hamilton (2002) 46 pp 15 col. ill. 9x6 in softcover 1895800714 $12.95
Power of Invention: Drawings from Seven Decades by Tony Urquhart
Terrence Heath
Tony Urquhart has enjoyed a long and distinguished career as a draughtsman, painter and sculptor. Published on the occasion of what can be considered the definitive survey of drawings, ranging from a seascape produced at age 15 to present-day production, this publication contains an essay, an artist's statement and over 100 annotated illustrations.
Museum London (2002) 46 pp 113 ill. 9x8 in softcover 1895800676 $15.00
Kai Chan: Rainbow Lakes
Stuart Reid & Robin Metcalfe
Drawing heavily upon craft traditions yet planned and conceived like architecture, Chan's large fragile wall-hung constructions push concepts of the object into new formations. Many are intricately built from bits of wood and stems that are transformed into monumental sculptures in a method akin to traditional basket making, while others are hand painted toothpicks strung on thread. This unique body of work, abstract yet illustrative, reflects deeply ambivalent attitudes towards Chinese society. A respect for traditional craft and an understanding of traditional landscape painting is juxtaposed with a critique - through metaphor and symbol - of accepted values such as homophobia. Kai Chan was born in China, immigrating to Canada in 1966. He studied at the Banff Centre School of Fine Arts, the Ontario College of Art and Design and is a recipient of the Jean A. Chalmers National Crafts Award. This nationally touring exhibition will show in London, Mississauga, Owen Sound, Halifax, Lethbridge, Peterborough and Calgary.
Art Gallery of Mississauga / Museum London / Tom Thomson Memorial Art Gallery (2002) 36 pages, 11 col. ill. 8x8 softcover 1895800595 $12.95 (Can./U.S.)
Course Studies - Tracking Ontario's Thames: An Exploration of the River
George Thomas Kapelos (ed.) Photographs by Steven Evans
In many ways one can gauge the history of Canada by its Rivers. By telling the story of one of the country's key arteries, Kapelos captures and communicates our collective past and present. By imitating the river's meandering course he guides the reader through the experiences of early explorers and the first European settlements, the continued presence of First Nations peoples, the growth of industry and tourism and the contemporary establishment of a Conservation Authority. Accompanied by period paintings, photographs, maps and historical documentation. Toronto artist
Steven Evans spent a year photographing sites along the Thames and the 60 black and white examples included here stand entirely on their own as elegant landscape photography.
Museum London (2001) 106 pages, 92 ill. 8x9 in. softcover 1895800617 $18.95
Seeking the Ideal: The Athletic Sculptures of R. Tait McKenzie
En quête de l'idéal: Les sculptures althlétique de R. Tait McKenzie
D.B.G. Fair
Robert Tait McKenzie (1867-1938) spent much of his life in Montreal and led a singular professional career which placed him at the centre of several historic movements. His training as a medical practitioner and his participation in athletics, both at McGill University, led him to develop a lifelong concern with the human body, its perfections and its deformities. His desire to discover what made the perfect athlete was born from his interest in the newly rekindled Olympic Games and was expressed through theories of the body particular to the Victorian era. Turning to sculpture as a way of illustrating his theories, McKenzie's success as an artist led to his participation in local art groups and to international exhibitions. While throughout his life his principal subject remained the nude male, a meeting with Rodin encouraged him to replace his scientific approach to working from the heart. This development can be seen in this rare presentation of an important Canadian art figure. In English and French.
Robert Tait McKenzie (1867-1938) était à la fois un médecin et un sculpteur de renom au cours de sa longue carrière à Montréal et ailleurs. Sa vie professionnelle était influencée par divers sujets, comme l'étude anthropométrique, les arts, l'éducation et la promotion de nouvelles organisations telles que les Olympiques. L'exposition de ses sculptures sera présentée au Musée du Québec en l'an 2002. En français et anglais.
Museum London (2001) 47 pages 14 ill. 10x7 in. 1895800536 $7.00
Roly Fenwick: A New and Greener Light
Ted Fraser & Hugh MacKenzie
To paint Canadian landscape at the turn of the new century is an activity heavy with history and an adventure some may even consider foolhardy. Roly Fenwick not only faces the challenge, he goes to the very geographical centre to do so: the land of Tom Thomson and the Group of Seven, Georgian Bay. Hugh Mackenzie writes "I suggest that Fenwick's antecedents go back much further, to the rich and glowing greens of Claude Lorraine; to Cezanne and the articulation of planes pushing deep within the picture...Fenwick's work speaks of the history of art". Co-published with the Tom Thomson Memorial Art Gallery.
Museum London ( formerly London Regional Art & Historical Museums) (2001) 48 pages 27 col. ill. 8x8 in. softcover 189580051x $12.95
Sara Hartland-Rowe: What Are Days For?
Sarah Quinton & Corinne Mandel.
Referencing the narrative intent and painterly techniques of Renaissance fresco-painting, Hartland-Rowe fills in the historical "gaps" inherent in this monumental artform. As the plaster could be worked only when wet, the work had to be completed in a day and, due to the ravages of time, sections of these walls have since fallen away, thus forever interrupting the stories. This is Hartland-Rowe's poetic conceit: to paint irregularly shaped panels which, when mounted, form a kind of reverse-fresco and to complete the work in a day. "The work in this exhibition comes out of a love of narrative painting, and my struggle to find a place for narrative after modernism. My hope is that you will find a thread that binds moments into stories, and in that journey, find simple, beautiful things at your feet."
Museum London ( formerly London Regional Art & Historical Museums) (2001) 47 pages 19 col. ill. 6.5x6.5 in. 1895800471 softcover $10.00 (Can./U.S.)
Doug Kirton: Times of Uncertainty, Paintings 1983-1999.
Will Gorlitz.
Gorlitz's essay "Alienation, Painting and Polemics" unlocks the secrets to the visual and intellectual power of Kirton's work. On the one hand, the subject matter is always bleak. The paintings invariably depict a troubled world comprised of empty suburban dwellings, contaminated bodies of water and fractured architectural spaces. The treatments, however, are outrageously beautiful. The source of the series, "The Toxic Pool Group" could not be more clear and less inviting. But the stunning physicality draws the viewer in and perfectly reflects the artist's concerns, placing these works among the best of Canadian landscape painting. Carr and Thomson showed us Nature before human intervention. With the same care and vision, Kirton shows the results of that intervention.
Museum London ( formerly London Regional Art & Historical Museums) (2001) 44 pages, 16 col. ill., 8.5x9.5 in., 1895800889 softcover $15.00 (Can./U.S.)
Arni Haraldsson: At Last Sight.
Anne Brydon.
With his photographs of mid-20th century architecture and urban landscapes in India, Israel and his native Iceland, Haraldsson focuses attention on the enduring legacy of the Modernist ideal. By looking at these very different places, his critique of the utopian structures and city-planning that flourished after World War II make a vital connection between Modernism and nation-building. All three states achieved independence in the late 1940s, their governments propelled by the conviction that rational planning could transcend confusions and desperate histories. But the alienating forces of urban living and the industrialized workplace, combined with the violence of nation-building that characterized Israel and India, penetrated and transformed the utopian forms.
Museum London ( formerly London Regional Art & Historical Museums) (2000) 32 pp. 21 col. ill. 8x9 in. 1895800846 softcover $12.95 (Can./U.S.)
The Single Tree (out of print)
Laura Millard.
As long ago as 1975, Dr. Yen Shih, then director of the National Gallery of Canada and a scholar of Chinese art, remarked on the significance of the tree in both Asian and Canadian painting and expressed surprise that no one had yet explored this theme in Canadian art. This publication fills that gap. Millard looks at the work of 53 artists from the turn of the 19th century to the turn of the 20th. Situating her comments within historical and political contexts, she presents and interprets some of the greatest and most influential examples of modern landscape painting. She shows that the single tree, so prevalent in Canadian art, has been continually re-visioned and cannot be contained by any specific encoded meanings.
Museum London ( formerly London Regional Art & Historical Museums) (2000) 36 pp. 17 col. ill. 9x7.5 in. 1895800803 softcover $12.95 (Can./U.S.)
Jamelie Hassan: Trespassers & Captives.
Peter Smith, Jim Drobnick, Jennifer Fisher at al.
At the instigation of Hassan, Eldon House - a family home built in the early 1800s and much later donated to the city - becomes a stage for research, intervention, performance, and discussion toward the deconstruction of British colonial policy. Objects gathered from throughout the Victorian British Empire and long part of the family's possessions (materials, clothing, animal parts, furniture, art, archives) are studied, displayed, manipulated and displaced in an attempt to challenge long held perceptions on power, ethnicity and personal responsibility. Seven independent essays outline the historical and artistic aspects of this five month long event.
Museum London ( formerly London Regional Art & Historical Museums) (1999) 96 p.,51 ill.(10 col.) 9.5 x 7.5 in, (24 x 19 cm.)1895800781 $15.00 (pb)
Murray Favro.
Robert Fones, Helga Pakasaar, Matthew Teitebaum & Peter White.
Four essays outline the lengthy and multidisciplinary career of the Ontario artist. Favros' early rejection of the dominant high modernist model of contemporary sculpture in favour of its exact opposite, has led him to produce an art filled with humour, innovation and the materials of the world around him. His train tracks, porches, model planes, carpentry tools, guitars and telephones, while familiar and clearly recognizable, are imbued with conjecture, invention and possibility.
Museum London ( formerly London Regional Art & Historical Museums) (1999) 110 p., 9.5x7.5 in./ 24x19 cm , 65 ill (25 col.), 0771421346 $25.00 (pb)
Harold Klunder: In the Forest of Symbols
Ted Fraser
An historical essay charts the course of the painter's expressive use of abstraction and representation and acknowledges the influence of artists like Kadinsky whose expressive symbolic abstraction also used synaesthesia and colour.
Museum London ( formerly London Regional Art & Historical Museums) (1999) 24 p., 14 ill.(7 col.) 9x11 in / 22x27 cm, 1895800609 $10.00
Jerry Pethick: Straw Tower.
James Patten, Barbara Fischer.
As artist-in-residence, Pethick constructed a tower of straw bales twenty-five feet high in reference to the silos that had once dominated the rural landscape of southwestern Ontario. Artist and essayists comment upon the sweeping changes to contemporary farming practices and examine the disengagement of western culture from food production.
Museum London ( formerly London Regional Art & Historical Museums) (1999) 48 p., 35 ill. (20 col.) 8x11 in / 21x28 cm, 1895800641 $15.00
Kim Moodie: Recent Paintings.
James Patten.
Moodie's densely constructed paintings present us with a complex visual world that is equal parts playful, horrific and fantastic. Although he draws on historical and cabalistic sources for his imagery, Moodie creates a world that has parallels to our own. Born in Ontario in 1951, Moodie has exhibited throughout North America, notably at the Patricia Forbes Gallery (Santa Monica, California), the Centre Gallery (Miami, Florida) and the Art Gallery of Windsor.
Museum London ( formerly London Regional Art & Historical Museums) (1999) 40 p., 15 ill. (12 col.) 9x7.5 in. / 23x19 cm. 1895800706 $12.00 (pb)
Thelma Rosner: Still Life.
Patrick Mahon, James Patten.
In her paintings, the London-based artist examines issues of security in relation to domestic activity and the rigidity of self-preserving strategies. Her still-lifes contrast human vulnerability with the arbitary and uncontrollable activity of the larger natural and social world.
Museum London ( formerly London Regional Art & Historical Museums). (1999) 24 p., col. ill. 9x7.5 in / 22x19 cm, 1895800684 $10.00
Brealart: 80 Years of Experiment 1912-1992.
Paddy O'Brien.
A definitive history of art programs of the Beal school, an institution closely woven into London's cultural fabric and known for the many outstanding artists it has produced, including Greg Curnoe, Robert Fones, F Hamilton John Greyson and Philip Aziz.
Museum London ( formerly London Regional Art & Historical Museums) (1998) 87 p., col. ill., 11x8 in / 28x21 cm, 189580048x $15.00
London Collects David B. Milne.
David Silcox.
An overview of one of the country's most important Milne collections. The accompanying essay serves as a biography of the artist as well as a social history of the nascent Canadian art milieu through to the 1960s with an emphasis on the galleries and collectors of the time.
Museum London ( formerly London Regional Art & Historical Museums) (1998) 48 p., 50 ill.(7 col.), 11x8 in / 28x21 cm, 1895800544 $15.00
David Merritt: Littera.
James Patten, Carol Laing.
Two essays illuminate the historical and theoretical foundation for the Ontario artist's wall and floor works constructed from pins and twigs. The images he creates (some are text-based; others freeze a movement in time) suggest the organic materiality of language and the temporal patterns of growth and decay.
Museum London ( formerly London Regional Art & Historical Museums) (1997) 48 p., ill., 8x7 in / 21x17 cm, 1895800463 $20.00 (hb)
Sheila Butler: Matters of Life and Death.
Barbar Fisher, James Patten.
The essayists outline the gender and myth-related issues that characterize the work of the London-based painter.
Museum London ( formerly London Regional Art & Historical Museums) (1997) 40 p., col. ill., 11x9 in / 28x22 cm, 1895800455 $15.00
Treasures from Japan.
David Pepper.
Museum London ( formerly London Regional Art & Historical Museums) (1997) 48 p., col. ill., 11x8 in / 27x21 cm, 1895800528 $5.00
Banting & Jackson: An Artistic Brotherhood (OUT OF PRINT).
D.B.G. Fair
.
A look at the artistic production that resulted from the unlikely frienship between artist A.Y.Jackson and scientist Frederick Banting.
Museum London ( formerly London Regional Art & Historical Museums) (1997) 40 p., col. ill., 11x8 in / 28x21 cm, 1895800439 $12.00
Walter Redinger: Beyond Survival.
James Patten, Carole Farber.
Museum London ( formerly London Regional Art & Historical Museums) (1994) 28 p., ill., 11x8 in / 28x21 cm, 1895800382 $7.00