THE ROBERT MCLAUGHLIN GALLERY
Andil Gosine: All The FlowersThis first monograph documents Addil Gosine’s autobiographical and multidisciplinary exhibition wherein he explores the prelude and enduring aftermath of his family’s move from Trinidad to Canada when he was a boy. The unifying icon in the exhibition is the Ixora. This delicate flower, which blooms throughout Trinidad, is in fact indigenous to India and parts of Asia. Gosine’s ancestors, indentured labourers who came from India to Trinidad between the mid-19th and early 20th century after the abolishment of slavery, brought the flower with them to the Caribbean island, where it proliferated. Gosine in turn brings the Ixora to Canada as an offering to the people and experiences which shaped him.
Andil Gosine’s research, writing, and arts practices consider the imbrications of ecology, desire, and power. His work has been performed or exhibited at the Museum of Latin American Art, Fashion Institute of Technology, Jamaica Performing Arts Centre, and Queens Museum (USA) and the Art Gallery of Ontario. As Associate Professor in Artistic and Cultural Practices at the Faculty of Environmental Studies at York University (Toronto), he has published in scholarly journals, such as Topia Journal of Cultural Studies, Alternatives, South Asian Studies, Sexualities, and Caribbean Review of Gender Studies.
Robert McLaughlin Gallery (02/2018) 44 pp col. ill. 9 x 6 in softcover 9781926589961 $12.00 Can. $15.00 U.S.
Alexandra Luke (1901-1967) and Isabel McLaughlin (1903-2002) were leading figures in the mid-century Canadian art scene as both artists and art organizers. Two contemporary artists, Gwen MacGregor and Teri Donovan respond to and reposition Luke and McLaughlin by shining a contemporary lens on both their personal and professional lives through their individual practices. The juxtaposition of paintings by Luke and McLaughlin with MacGregor’s multi-media renderings of their words and thoughts, and Donovan’s mixed media explorations of historical imagery illuminates the manner in which two modernist women artists affected a regional cultural landscape and inspired discourse on art-making, gender issues, and many aspects of the supportive structures of cultural institutions.
Margaret Rodgers and Sky Goodden
Alexandra Luke was born in Montreal but lived and worked in Oshawa Ontario. Classes in Banff and associations in 1945 with Jock Macdonald and A.Y. Jackson were followed by Hans Hofmann’s workshops in Provincetown Massachusetts. She organized the first traveling exhibition of abstract art in Canada and exhibited widely, notably with Painters Eleven in 1953. Isabel McLaughlin was a Toronto-based artist associated with many of the principal figures in mid-century Canada, including Arthur Lismer, Yvonne McKague Housser, Lawren Harris, and A.Y. Jackson. She exhibited with the Canadian Group of Painters, where she was a founding member in 1933 and its first woman president in 1939. Gwen MacGregor is a Toronto-based multi-disciplinary artist whose artworks are in a number of public collections. Teri Donovan is a Toronto-based mixed-media artist and has exhibited extensively.
Robert McLaughlin Gallery (10/2017) 76 pp col. ill. 10 x 8 in softcover 9781926589947 $15.00 Can. $18.00 U.S.
Visitor InformationFive artists use a wide range of photographic practices to investigate the social histories of land, architecture and institutions. On the occasion of the 50th anniversary of the the Oshawa Ontario-based gallery, each artist has created a project that grapples with the shifting nature of the city’s social, economic and technological fabric. Drawing from accounts that range from its history as a site of Indigenous occupation to the dominance of the 20th century auto industry, and from explorations of family archives to representations of institutional tech hubs, the works create narratives that offer diverse views of a once-rural community continually transformed by industry. The works provide an intriguing historical overview of the city for residents and visitors alike. Participating artists: Lise Beaudry, Michèle Pearson Clarke, Martie Giefert, Morris Lum and Jeff Thomas.
Linda Jansma and Jayne Wilkinson
Robert McLaughlin Gallery (06/2017) 79 pp col. ill. 10 x 8 in softcover 9781926589923 $18.00 Can. $20.00 U.S.
Jay Dart: Greetings from Yawnder!
Describing himself as a “drawist”, Jay Dart attempts to elucidate the creative artistic process through whimsical watercolour and coloured pencil drawings of an imaginary place in the wilderness where wanderers search for geists and zeitgeists. With stories devised by his alter-ego “Jiggs”, Dart’s illustrated tales portray a colourful mix of bearded gentlemen navigating a world of Elsewheres. A childlike whimsy in the colours and patterns contrasts playfully with the hardened austere stereotype we have come to expect from bearded manly men. Beyond the timeless fantasy, however, is a call to the contemporary cultural movement of sustainability in a D.I.Y environment. Jay Dart is an award-winning Canadian artist whose influences range from children's books to other contemporary artists such as Cy Twombly and Marcel Dzama as well as to historical artists like Cornelius Krieghoff and Tom Thomson. Dart’s works have been exhibited at Papier 15 (Montreal), The Gladstone Hotel (Toronto), Affordable Art Fair (New York), and The 100 Euro/Dollar Show (Amsterdam/Portland). Also a graphic designer and illustrator, Dart’s work has appeared in Yen magazine (Australia), Joseph magazine (Germany), and The Globe & Mail (Toronto). He is the recipient of the 2016 National Magazine’s Gold Award.
The Robert McLaughlin Gallery (10/2016) 52 pp col. ill. 8.5 x 5.5 in softcover 9781926589916 $12.95 Can. $14.95 U.S.
As the world experiences an ever-increasing shift in populations for reasons ranging from economic and geopolitical to cultural and social, a disputed concept of national identity has become symptomatic of our times. Here, two artists from very different backgrounds employ immersive multi-media installations to explore the transient nature of communities and territories in an era of fluid cultural identity. Informed by interviews with individuals from diverse immigrant communities Lucie Chan uses portraiture as a record of the encounters, and her oversized digital prints and watercolours reveal stories that explore the nature of shape-shifting identities in a globalized world. In work that makes use of multi-sensorial stimuli, Jérôme Havre brings to light relationships between the body, representation and “otherness” that challenge the ways in which we perceive our surroundings through the breaking of boundaries. Presented together, these works create a space of ambivalence, working to displace the fixity of meaning and structures of power and knowledge. Each artist encourages the viewer to experience the challenges that arise from an acute sense of difference, in order to find new ways of addressing cultural representation. Originally from France, Jérôme Havre is a Toronto based artist who was long-listed for the 2010 Sobey Art Award. Originally from Guyana, Lucie Chan is a Toronto-based artist who was long-listed for the 2005 and 2010 Sobey Art Award. The Sobey Award is Canada’s most prestigious prize in the visual arts.
Liminal: Lucie Chan and Jérôme Havre
Robert McLaughlin Gallery (07/2016) 84 pp col. ill. 8 x 5.5 in softcover 9781926589909 $20.00 Can. $22.00 U.S.
Holly King: Edging Towards the Mysterious
Linda Jansma and Francine Paul
For twenty five years Holly King has been creating photographic works that are immediately recognizable for their integration of numerous other disciplines, particularly painting, sculpture and scenography. Working from models and miniature sets that are powerfully illuminated and then photographed, King’s imposing large-scale photographs offer an intimate vision of perfect landscapes that hover between memories of real places and nostalgia for imaginary sites. Historical, cinematographic and painterly references - notably Caspar Hauser Friedrich and JW Turner - abound in her richly detailed works. This ten-year mid-career retrospective is comprised of four of her most recent series: Twisted Roots, Mangroves: Floating Between Two Worlds, Grand Canyon: Unscene and the recently completed English Cliff series. King states that her photographs are a “celebration of sublime beauty in nature” aware that her goal is not the dominant trend in contemporary art. Holly King’s photographs have been widely shown, notably at the Montreal Museum of Fine Art, The Canadian Museum of Contemporary Photography and the Centre Georges Pompidou, Paris. She has been teaching in the Painting and Drawing Department of Montreal's Concordia University since 1983. This monograph is the first major overview of her work in nearly two decades and accompanies an exhibition that will travel the country during 2016 and 2017. Published in collaboration with Thames Art Gallery, Musée des beaux-arts de Sherbrooke, Galerie Art Mûr, and Musée du Bas-Saint-Laurent. In English and French.
Depuis près de vingt-cinq ans Holly King crée des œuvres photographiques immédiatement reconnaissables par l’intégration des disciplines artistiques telles que la peinture, la sculpture et la scénographie. En travaillant à partir de maquettes et de décors miniatures puissamment éclairés par des projecteurs, puis photographiés, King explore la tension qui existe entre l’artifice et l’illusion générée. Ses œuvres font appel aux souvenirs de paysages réels et puisent à d’autres sources, comme le film ou diverses références artistiques, historiques ou littéraires, et sont décodées différemment par chaque spectateur, qui l’interprète à partir de sa propre expérience du paysage. Cette rétrospective de dix ans de création est composée de quatre séries récentes et accompagne une exposition itinérante qui voyage à travers le pays en 2016 et 2017. Parmi les lieux d'exposition de Holly King on y retrouve le Musée des beaux-arts de Montréal, le Musée canadien de la photographie contemporaine et le Centre Pompidou à Paris. Depuis 1983 Holly King enseigne la peinture à l'Université Concordia de Montréal. Publié en collaboration avec les institutions suivantes : Musée des beaux-arts de Sherbrooke, Galerie Art Mûr, Musée du Bas-Saint-Laurent et la Thames Art Gallery de London, Ontario. En français et anglais.The Robert McLaughlin Gallery (01/2016) 120 pp 70 ill. coul. 27 x 24 cm hardcover 9781926589893 $35.00 Can. $39.00 U.S
Beyond Measure: Domesticating Distance
Ambereen Siddiqui and Seema Hollenberg
Five contemporary South Asian artists examine life in a diaspora, critically dissecting cultural duality and the resulting hybrid identities. Working with performance and installation, photography and sculpture, writing and sewing and moving image and text, their multidisciplinary practices echo the diversity of their layered experiences. Emanating from personal narratives, the works carry a deliberate autobiographical significance as each artist dissects the fissures and dislocations caused by distance. Hovering between recollection, narration and reflection their works record acts of searching for the familiar in the foreign, of repurposing the past in the present, and of locating oneself within displacement. Surendra Lawoti moved to the United States from Nepal; his work has been exhibited at Glass Curtain Gallery (Chicago), Photographic Resource Center (Boston), and Fries Museum in Leeuwarden (Netherlands). Tazeen Qayyum is a Pakistani-trained contemporary miniature painter; her work was included in the 10th Asian Biennale in Dhaka (Bangladesh) and the Painting Biennale in Tehran (Iran). Meera Margaret Singh is a visual artist based in Toronto. She has had residencies at the Art Gallery of Ontario and Banff Centre; her work has been included in numerous national and international exhibitions. Asma Sultana is a Bangladeshi-born, Toronto-based British artist who has participated in numerous exhibitions notably at the National Museum in Dhaka. Abdullah M. I. Syed is a Pakistani-born artist and curator working between Karachi, Sydney, and New York; his work has been featured at the 4A Center for Contemporary Asian Art (Sydney) and Mohatta Palace Museum (Karachi). Produced in collaboration with the South Asian Visual Arts Centre, Toronto.
Robert McLaughlin Gallery (09/2015) 74 pp 36 col. ill. 8 x 5.5 in softcover 9781926589886 $20.00 Can. $22.00 U.S.
Boxing: The Sweet ScienceOver 100 years of boxing is depicted by artists working in paint, graphite, bronze and photography. Photographers capture boxing as anatomy studies as well as a form of exercise during the First World War. Lithographers and photographers illustrate scenes of professional boxing. Sculptors immortalize pugilists in bronze. And contemporary artists explore the sport’s defining qualities of endurance, discipline, pain, and self-discovery. Archival and contemporary images along with original texts by sports professionals reveal the mystical nature of what boxing insiders call “the sweet science.” With work by George Bellows, Pete Doherty, Clinton Griffin, Kristin Horton, Tom Lovatt, Kathleen Munn, John J. A. Murphy, Eadweard Muybridge, Ernst Neumann, John Reeves, Harold Town, and Coral Short. Sean O’Meara is the organizing chair for boxing at the Toronto 2015 Pan Am/Parapan Am Games. Stephen Brunt is a Canadian sports journalist. Linda Jansma is curator at the gallery and author of numerous publications.
Sean O’Meara, Stephen Brunt and Linda Jansma
Robert McLaughlin Gallery (May 2015) 64 pp col. ill 9 x 9 in softcover 9781926589862 $20.00 Can. $20.00 U.S
Cars and highways have long been evoked in images, narratives, and songs. This near-utopian relationship, however, has come under increasingly intense scrutiny from a wide range of cultural and environmental perspectives. Running on Empty presents the work of artists who consider the seductions and disillusionments in our long-standing infatuation with the car. Works of various disciplines situate the car as a mediating force in our relationship with mobility and the land, and explore the interconnection of industry and the natural world where expeditions have unexpected consequences, bucolic scenes become a blur, idyllic scenarios are mere fabrications, and history repeats itself. One of the key cultural references cited is Jean-Luc Goddard’s 1967 film Weekend. Participating artists: Kim Adams (sculpture/installation), John Massey (photography), Kate Puxley (taxidermy/installation), Shayne Ehman and Seth Scriver (film), Monica Tap (painting) and Elinor Whidden (installation/photography).
Running on Empty
Robert McLaughlin Gallery (02/2015) 48 pp col. ill. 10 x 8 in softcover 9781926589855 $15.00 Can. $18.00 U.S
Contemporary Indigenous artists explore ancient treaties to reveal what they say about relationships to lands, region and territory, while considering distinct Indigenous perspectives on the history of treaties in this land now called Canada. Both the breadth and originality of the curatorial premise in this exhibition catalogue reveal contemporary Indigenous perspectives on understandings and treaties among nations, as well as interpersonal relationships of the individuals who inhabit the land. The astute selection of artists and works underline what Rachelle Dickenson calls the “synergies between medium, symbolism, customary practice and critical theory that are key strategies used to assert the principle of interrelationship at the core of Indigenous ontology.” The artists: Michael Belmore, Hannah Claus, Patricia Deadman, Vanessa Dion Fletcher, Keesic Douglas, Melissa General. Published with Museum London, Art Gallery of Peterborough and MacLaren Art Centre. Rachelle Dickenson is Curatorial Assistant, Indigenous Art at the National Gallery of Canada. Lisa Myers is engaged in MFA research in Criticism and Curatorial Practice at OCAD University. Lee-Ann Martin is an independent curator and former Curator of Contemporary Canadian Aboriginal Art at the Canadian Museum of History (Civilization) and former Head Curator of the MacKenzie Art Gallery.
Reading the Talk (Out of print)
Rachelle Dickenson and Lisa Myers
The Robert McLaughlin Gallery (09/2014) 76 pp col. ill. 10 x 8 in softcover 9781926589848 $20.00 Can. $24.00 U.S. (Out of print)
Viewfinders: Lesa Moriarity, Mike Berube, and Christine Lucy Latimer
While Lesa Moriarity, Mike Berube, and Christine Lucy Latimer are influenced by technical devices, each returns to traditional practice: painting (Moriarity), the dark room (Berube), and antiquated film equipment (Latimer). Moriarity uses the internet as an onlooker, Berube uses the camera lens as a bystander, and Latimer uses film equipment to comment on the evolution of technology. In their attempts to make connections with the world, the emphasis is placed on their chosen mediums to heighten meaning in their works. Lesa Moriarity has exhibited in Canada and the United Kingdom. Mike Berube was a 2008 Magnum Photos Selected Emerging Photographer. Christine Lucy Latimer has had screenings at San Francisco Cinematheque and Toronto’s Images Festival. Latest in a series of biannual publications dedicated to emerging artists.
The Robert McLaughlin Gallery (06/2014) 48 pp 36 ill. 7.75 x 9.75 in softcover 9781926589831 $15.00 Can. $18.00 U.S.
Ron Shuebrook’s career spans almost half a century. As a painter, educator and advocate, he has influenced two generations of artists, while remaining committed to a deeply held set of Modernist and humanistic values. Past critical discussions of the artist's work have concentrated on his paintings, often overlooking a rigourous drawing practice characterized by geometrically intricate, monochromatic drawings in charcoal on rag paper. Published to accompany a multi-venue exhibition and coinciding with the artist's seventieth birthday, this publication seeks to enrich this traditional reading of Shuebrook's practice by asserting the centrality and ongoing influence of his drawing to contemporary artists today. Born in Virginia USA, Ron Shuebrook is a Canadian artist who has taught at Kent State University and the Nova Scotia College of Art and Design. His works have been acquired by many public museums including the National Gallery of Canada. John Kissick is an artist whose work has been featured in the 2010 monograph John Kissick: A Nervous Decade. Published with Thames Art Gallery, Macdonald Stewart Art Centre, MSVU Art Gallery and Kelowna Art Gallery.
Ron Shuebrook: Drawings
The Robert McLaughlin Gallery (12/2013) 46 pp 29 bw ill. 8 x 10 in softcover 9781894651912 $12.00 Can. $15.00 U.S.
Capturing Canada: Historical Prints from the Collection of EY (Out of print)
Edward G. Phillips
From the mid-eighteenth to the late nineteenth century prints were the only means of dispersing images of Canada. Because they could be produced in significant numbers, prints satisfied a population eager for scenes of a land of adventure and of settlements that promised peace and a prosperous future. Artists obliged the demand for images that appealed to dreams and ambitions of those who would venture through Canada and those who called it home. At times wild and powerful - and sometimes inaccurate - these images appealed to the temperament of the times. The works in this publication are sourced exclusively from the EY (formerly Ernst and Young) Art Collection, one of the largest private collections of original prints in Canada. The first items collected were historical works that captured in visual form the steady transformation of Canada - the excitement and wonder of the earliest travelers in the late seventeenth century, the strategic observations of military personnel in the late eighteenth century, and the confidence and boosterism of the late-nineteenth century urbanite. Never exhibited to the public before, these images covering a span of over one hundred years are brought together to provide a panorama that extends to the brink of the twentieth century and encompasses the formation of Canada. Edward G. Phillips was curator of the EY Collection from 1981 to 2010.
The Robert McLaughlin Gallery (02/2014) 68 pp 46 ill (40 col) 8.5 x 12 in softcover 9781926589824 $20.00 Can. $24.00 U.S.
Ian Johnston: Reinventing Consumption
Kimberly Phillips and Ihor Holubizky
Ian Johnston is an architect turned sculptor based in British Columbia. This publication documents an exhibition traveling across the country through to 2015. “The Inventor’s Room”, presents artifacts related to his original experiments in a vacuum-forming process for ceramics. “The Antechamber” is a repeating-motif ceramic environment created through this process, which evokes the massive scale of the manufacture of consumer goods today. “The Chamber” is an inflating and deflating piece which shrouds and reveals a mass of household items diverted from waste streams in some of the communities in which the work is presented. Mesmerizing, intriguing and sobering, these works bring home, as Johnston states, “the paradoxical relationship between limited resources and seemingly unlimited appetite. Published with Esplanade Art Gallery, Art Gallery of Swift Current, Dunlop Art Gallery, and Access Gallery.
The Robert McLaughlin Gallery / McMaster Museum of Art (11/2013) 56 pp 34 col. ill. 10 x 8 in softcover 9780981339368 $15.00 can. $18.00 U.S.
Jennifer Marman and Daniel Borins: The Collaborationists
Melissa Bennett, Linda Jansma and Christian Viveros-Fauné
This publication of the Toronto-based duo is the most complete career overview to date. Featured are their signature sculptural and kinetic installations along with several smaller works that together form an experimental journey around the artists’ ideas on modernist art. In particular, cool geometric minimalism is used as part of a strategy of critique within the context of the information age. References to Wikileaks, Google, electronic surveillance, and information suppression are dissimilated within works marked by bright colours, enchanting movements, and humour. It is possible to see this collaborative work as both a playful encounter and a relevant critique of the supposed utopia of total information access. Jennifer Marman and Daniel Borins have collaborated since 2000. Their work has been exhibited at the National Gallery of Canada, Albright-Knox and elsewhere. Published with the Art Gallery of Windsor to accompany a cross-country exhibition showing from 2013 to 2016.
The Robert McLaughlin Gallery / Art Gallery of Hamilton / Southern Alberta Art Gallery (11/2013) 102 pp 66 col. ill. 8.5 x 9.5 in softcover 9781926589787 $25.00 Can. $29.00 U.S.
Toni Hamel: The Lingering
Toni Hamel views the process of art-making as an empowering, cathartic tool to tackle dark issues and questions.
Although informed by her personal experiences and infused with autobiographical notes, her work tackles universal themes such as gender roles, self-image, identity, and self-acceptance.
Hamel's subjects are explored in a monochromatic and delicate way through drawing, mixed media, sculpture, and installation.
Robert McLaughlin Gallery (09/2013) 42 pp 24 ill. 8 x 8 in softcover 978-1-926589-79-4 $15.00 Can. $18.00 U.S.
Making Methods: Becky Ip, Sam Mogelonsky and Mark Stebbins
Linda Jansma and Darryn Doull
In an era when rapid digital and non-physical experiences are commonplace, three emerging Canadian artists demonstrate a deliberate engagement with labour as a means of production. Video- artist Becky Ip creates graphite drawings which are then translated to paintings on mylar and recorded to experimental film. Referencing computer games or data, painter Mark Stebbins meticulously manipulates material allowing us to draw comparison to textiles such as knitting and embroidery. Samantha Mogelonsky’s sculptures are made with disarmingly excessive method, then re-presented in a series of photographs of their interiors to hallucinogenic effect. This modernization of craft-based processes indicates an increased focus on hand-rendered art.
Robert McLaughlin Gallery / Judith & Norman Alix Gallery (09/2013) 72 pp 50 col. Ill. 11 x 8.5 in softcover 978-1-926589-80-0 $20.00 Can. $24.00 U.S.
Christopher McNamara: Falling in Place
Eugene McNamara, Walter Wasacz, Sheila C. Murphy
This first monograph features two works that explore the sights and sounds of cities caught by camera, and relocated to installation and short film. Falling in Place, inspired by a short story written by the artist’s father, is hauntingly retold through three 3D films that are shown simultaneously. In Amulet City: On Location, the artist has created a city populated by narratives housed in tiny buildings constructed complete with billboards and branded signs; a city that never was. A pair of 3D glasses can be found inside the publication. Christopher McNamara’s videos have premiered at the Ann Arbor Film Festival, Film Festival Rotterdam, and The Projection Gallery Liverpool. Published in collaboration with Thames Art Gallery.
Robert McLaughlin Gallery (06/2013) 32 pp 20 col. ill. 6.5 x 9 in softcover 978-1-894651-88-2 $10.00 Can. $12.00 U.S.
A Vital Force: The Canadian Group of Painters
Alicia Boutilier, Anna Hudson, Heather Home and Linda Jansma
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 postwar reconstruction thereby making it a vital force. Artists include Jack Bush, Emily Carr, Paraskeva Clark, Lawren S. Harris, E. J. Hughes, Jack Humphrey, Prudence Heward, Jock Macdonald, David Milne, Lilias Torrance Newton, Goodridge Roberts and Marian Dale Scott. Three essays consider the significance and contribution of the CGP from academic, archival and curatorial perspectives. Interwoven among the essays are detailed examinations of specific works. Magnificently illustrated, this publication brings to light one of the most important artistic groups in twentieth-century Canadian art.
The Robert McLaughlin Gallery / Agnes Etherington Art Centre (03/2013) 128 pp 70 col. ill. 10 x 8.5 in softcover 978-1-55339-264-4 $35.00 Can. $40.00 U.S.
Une force vive : Le Groupe des Peintres canadiens (image à suivre / image to follow)
Alicia Boutilier, Anna Hudson, Heather Home et Linda Jansma
Dès le début des années trente, le Groupe des Sept est devenu « l’école nationale » du Canada, dictant l’image de l’art canadien à l’étranger. Les inquiétudes relatives à l’exclusion des artistes plus jeunes et progressistes ont conduit à la formation du Groupe des Peintres canadiens en 1933. Parmi les membres du nouveau groupe, on retrouvait la plupart des artistes progressistes anglophones de l’époque, tels que Jack Bush, Emily Carr, Paraskeva Clark, E. J. Hughes, Prudence Heward, Jock Macdonald, Pegi Nicol MacLeod, David Milne, Goodridge Roberts et Marian Dale Scott. Cette publication vise à faire le point sur les pratiques artistiques qui se sont développées durant les premières années du Groupe, soit de 1933 à 1953. Trois essais et plusieurs présentations individuelles nous offrent une vue d’ensemble minutieuse de ces artistes et de leur époque. En français.
Agnes Etherington Art Centre / Robert McLaughlin Gallery (03/2013) 128 pp 70 ill. coul. 10 x 8.5 po souple 978-1-55339-395-5 $35.00 Can. $40.00 U.S.
Simone Jones: All That Is Solid
Linda Jansma, Chris Gehman and Stuart Reid
Using photography, film, and CGI, the Toronto-based media artist explores how we see the world, and how our perception of reality can shift through various applications of what we record. In the central work discussed here four screens lean against the wall with images, both black and white and CGI, flowing one into the other. By conjoining images, the artist is attempting to create a hybrid space - asking the viewer to focus their attention on the nature of the images themselves. In a related work, Jones produces stereograms - images that allow us to see in three dimensions without the use of external visual aids. Published in collaboration with Rodman Hall Art Centre, Thames Art Gallery and The Reach Gallery Museum.
The Robert McLaughlin Gallery (12/2012) 68 pp 38 col. ill 9x8 in softcover 978-1-926589-77-0 $20.00 Can. $23.00U.S.
Raw & Cooked: Sculpture by Gerald Beaulieu
The work of The Prince Edward Island-based artist is anchored in a belief that art should engage the world head-on and make a meaningful contribution for debate. This new series of sculptures comments on the technological interventions in industrial farming and food production. Each work references real ecological issues: the “raw”, or sustainable, natural ecosystem, and the “cooked”, a world transformed to a machine that serves a purely corporate agenda. Beaulieu balances his artistic practice with employment in construction and the two vocations have informed each other in use of materials. Tar, plastic and wood are incorporated in his installation and sculptural work, playing with concepts of organic versus non-organic, and employing household materials as an overt metaphor for human interaction with their environment.
The Robert McLaughlin Gallery (11/2012) 22 pp 20 col. ill. 9.5 x 6 in softcover 978-1-926589-70-1 $10.00 Can. $12.00 U.S.
Revealing Spaces: Kate Wilhelm, Shaun Downey and Andrea Carvalho
Publication documenting a biannual exhibition devoted to emerging local artists. When examining three very different artists who on the surface share but a common geography, thematic connections begin to unveil themselves in surprising ways. Here, the locations depicted or created in all of their artworks reveal meaning. Wilhelm’s portraits of Roller Derby girls are taken in the subjects’ private homes. Downey’s locations in his paintings encourage questions and narrative. Carvalho’s sculptures seem to defy gravity, altering the viewer’s perception of space just by being in their presence.
The Robert McLaughlin Gallery (08/2012) 40 pp 20 col. ill. 9 x 7 in softcover 978-1-926589-35-0 $12.00 Can $15.00 U.S.
This group exhibition catalogue features work by Lois Andison, Kenn Bass, Dagmar Dahle, Tom Dean, Rebecca Diederichs, John McEwen, Arnaud Maggs, Lyndal Osborne, Su Rynard and An Whitlock. Together their works invoke systems of categorization and nomenclature, evolutionary theory and extinction, which lead us to consider how thinking around the natural world has formed our relationship to it.
Robert McLaughlin Gallery (2011) 56 pp 26 col. ill 8 x 8 in softcover 978-1-897215-34-0 $15.00 Can. $17.00 U.S.
Arnold Zageris: On the Labrador
Linda Jansma and Carla Garnet
Arnold Zageris's large format photographic colour prints focus on arctic and sub-arctic regions of Canada. Zageris captures the images using a traditional large format 4x5 view camera, technology that is unsurpassed for landscape photography in this digital age. The method allows for fine details and subtle nuances of form and texture to emerge. Although the colours and contrasts may appear enhanced, these works have no special filters or treatments. Zageris states his commitment is “to search and find the quality of light that can inspire the imagination.” His combination of traditional technique and methodical patience lends him the ability to show us a world we may not see otherwise; an extraordinary view of a geographic region not often traveled. Produced with the Art Gallery of Peterborough. Arnold Zageris has exhibited widely, notably at The Rooms (St. Johns), Espace Création, (Montreal), and the Canadian Museum of Nature (Gatineau.)
Robert McLaughlin Gallery (06/2012) 44 pp 32 col. ill. (3 fold-outs) 10.5 x 8.5 in softcover 978-1-926589-14-5 $15.00 Can. $17.00 U.S.
Susan Dobson: Shifting Tenses
Linda Jansma and Iga Janik
Susan Dobson creates photographs, sometimes edited for effect, alongside video projection and large scale prints to glamorize and identify the quest for individuality suburbanites undertake in order to adorn their homes. Concepts of sameness contrasted with the quest for distinctiveness permeate her work, but the sense of the monotonous, repetitive design of suburbia is subtly subverted and elevated. Susan Dobson has participated in photography festivals including Contact (Toronto), Fotoseptiembre (Mexico City), Le Mois de la Photo (Montreal), Bitume/Bitumen (Brussels), and FotoNoviembre (Spain).
Robert McLaughlin Gallery and Cambridge Galleries (01/2012) 58 pp 24 col. ill. 8 x 12 in softcover 978-1-926589-13-8 $20.00 Can. $23.00 U.S. (16 €)
Peter Smith: You May Find Yourself
Ann MacDonald, Jonathan Shaughnessy and Maria Finta
Peter Smith (1959-2009) was a largely self-taught, Toronto-based artist whose work describes the confrontation of mental illness with the everyday world. Equal parts oil painting, sculpture and assemblage, Smith’s compulsive, layered work teems with ideas and experiences and offers a breathtaking distillation of the urban experience. The monograph’s modest presentation belies a rich interior with fold-out colour plates, copies of the artist’s emails, a statement from the artist’s wife, and two essays that explore the complex world view of an artist who lived on the edge. Co-published with Kenderdine Art Gallery and Doris McCarthy Gallery.
The Robert McLaughlin Gallery (07/2011) 45 pp 12 col. ill. 10 x 8 in softcover 978-0-772754-11-0 $25.00 Can. $29.00 U.S. (20 €)
Geordie Lishman: Hidden Worlds
In an ancient workshop on his ancestral grounds in rural Ontario, Geordie Lishman creates large metal sculptures representing human figures, giant insects, masks, birds and much more: a mechanical horse with the head of a sphinx, an owl and eagle with moving wings, and a machine that illustrates planting strategies found in the Farmer's Almanac. Lishman provides glimpses of the mechanics of these machines, hidden worlds that bring us closer to the fabric of all being by showing us both its subtlety and intricacy. This publication documents Lishman's first major solo showing in a public gallery.
The Robert McLaughlin Gallery (07/2011) 32 pp 20 col. ill. 10 x 7 in softcover 978-1-926589-11-4 $12.00 Can. $15.00 U.S. (10 €)
Gordon Monahan: Seeing Sound, Sound Art, Performance and Music, 1978-2011
Edited by Linda Jansma & Carsten Seiffarth
Contributors: Gabriele Knapstein, Earl Miller, Matthias Osterwold & Claudia Knapstein
For over thirty years Gordon Monahan has created music, sound sculpture, sound installation, and computer-controlled sound environments that range from avant garde concert music to multi-media installation and sound art. As a pianist he has premiered and performed work by John Cage, Uko Kasemets and James Tenney. As a composer he has created a substantial body of work exploring, among much else, the acoustical quantities and qualities of the pianoforte. As a sound artist he has invented sound installations combining natural forces with manmade objects in environments ranging from museums to the outdoors. Critics have described Monahan's music as frightening, sensational, visually stunning and groundbreaking. This publication is the first comprehensive monograph on the work of Gordon Monahan. Among the subjects explored are Monahan's Berlin years (1992-2006), the influence of Fluxus and Pop, and the art and music scenes of his Toronto beginnings. His virtuostic work is decrypted through an analysis of the recurrence of natural and cultural artefacts, the convergence of hi-tech electronics with low-tech materials, and the unique compositional links between nature and technology. Published to accompany a nationally and internationally touring exhibition. In English, French and German. Accompanied by a DVD.
Robert McLaughlin Gallery (April 2011) 172 pp 40 col. ill. 10 x 8 in hardcover 978-1-926589-09-1 $40.00 Can. $45.00 U.S. (32 €)
Jessica Field: Parabolic Behaviours
With both humour and serious scientific concern, Jessica Field pursues significant questions about the relationship between human and machine. For the last ten years the Toronto artist has worked with robotics and Artificial Intelligence to create theatrical robot plays where, because the robots react to their physical surroundings, the environment determines the course of the plot. Field heightens the anologous behaviour of humans and robots by disimulating the technology beneath bits and pieces of wood, paper and wire. What the viewer actually sees is more akin to folk-art than high-tech with hand made dolls and painted toys acting out parables and tales from literature, myth and history.
Robert McLaughlin Gallery (01/2011) 34 pp 20 col. ill. 9.5 x 7.5 in softcover 978-1-926589-10-7 $12.00 Can. $15.00 U.S. (10 €)
William Ronald: The Central Image Paintings
William Ronald (1926-1998) was an important Canadian painter and a founder of the influential abstract art group Painters Eleven. This publication documents an inportant era in his career after he moved to New York in the 1950s and where, under the influence of Abstract Expressionism, Frank Stella and Kootz Gallery, his style dramatically changed. These works command attention, expressing anguish, excitement and tension. Retrospective of an artist who was pivotal at his time.
Robert McLaughlin Gallery (11/2010) 44 pp 19 col. im. 11 x 8 in softcover 978-1-926589-08-4 $15.00 Can. $18.00 U.S. (12 €)
Lindy Fyfe: Confluence
Andy Fabo & David Aurandt
Toronto painter Lindy Fyfe also works with textiles, taking the bold and colourful geometric patterns of knit fabrics used for articles of clothing and stretching them, deforming the patterns, and juxtaposing them against other patterns, then mounting all of it over canvas stretchers. It is possible to draw comparisons to the Op-Art movement, which flooded the eyes and senses, but Fyfe’s work finds no real direct home within the constraints of style. Fyfe’s work is intuitive, explorative and unique in approach.
Robert McLaughlin Gallery (10/2010) 34 pp 24 col. ill. 8.5 x 9.5 in softcover 978-1-926589-07-7 $15.00 Can. $17.95 U.S. (12 euros)
Browsing Beauty: Andrea Sunder-Plassmann & Sigi Torinus
Lucy Hartley, Lorenzo Buj & Ferenc Jadi
Using a website as their studio, the two artists Andrea Sunder-Plassmann (Germany) and Sigi Torinus (Canada) create a deliberate work-in-progress that models and locates beauty in spatial and technological terms. They use weather balloons, projections, sound and collected responses from the website (www.browsingbeauty.com) to demonstrate varying definitions of beauty.
Robert McLaughlin Gallery (10/2010) 48 pp 23 col. ill. 8.5 x 10.5 in softcover 978-1-894651-64-6 $15.00 Can. $17.95 U.S. (12 euros)
The Logic of Nature, The Romance of Space: Elements of Canadian Modernist Painting
Cassandra Getty, Adam Lauder, Georgiana Uhlyarik, Sarah Stanners & Lisa Daniels
This original publication explores modernism in Canada’s visual arts in the first half of the twentieth century. Five essays discuss the epochal shift which questioned not only the forms of artistic representation, but the uses of art to explore wider streams of thought, including nationalism, universalist spirituality, science and technology. Three essays discuss the work of Kathleen Munn (1887-1974) and Lowrie Warrener (1900-1983), whose work represents some of the earliest abstract art in Canada as it first emerged during the 1920s and 30s. This is complemented by an essay on Bertram Brooker (1888-1955) whose work was influenced by vitalist thinkers such as Henri Bergson. A concluding essay extends the science or technology-based modernism of artists such as Wyndham Lewis to the concepts of Marshall McLuhan. Co-published with the Art Gallery of Windsor. In English and French. Please note the price change reflects a hardcover edition, and not softcover as announced..
Robert McLaughlin Gallery (08/2010) 200 pp 80 col. ill. 11 x 9 in hardcover 978-0-919837-80-5 $50.00 Can. $59.95 US (40 euros)
Working with homemade electronics and salvaged materials Denton Fredrickson, Robyn Moody and Brian McKenna expose methodologies of science popularized when they were growing up, and exploit them to create sculpture, video and installations. Their work explores the dreams of science and science fictions and de-and reconstruct mechanisms in order to investigate the links between knowledge, experience and technology. Reflecting the spirit of the project, the publication is enclosed within a sealed cardboard box along with an envelope of 21 images, a blueprint, a mimeograph, a poster and other items suggesting a high school project from another era. Published with The Tom Thomson Art Gallery and The Kitchener-Waterloo Art Gallery. Due to the nature of the sealed packaging, open boxes will be accepted for return.
Robert McLaughlin Gallery (06/2010) 12 x 9 in cardboard box container 978-1-926589-04-6 $30.00 Can. $35.00 U.S. (24 euros)
Peggy Gale & Christopher Dewdney
Shelagh Keeley came to prominence in the 1980s and has a significant early body of work that is housed in numerous Canadian institutions and, given Keeley’s 22-year residence in New York City, in most major American institutions. From very early on Keeley’s drawings challenged the established art world with investigations into Africa, AIDS, health and the body. More recent work includes bookworks that serve as an archive of the artist’s visual vocabulary during nearly three decades of practice. They record themes that have pervaded her practice: diversity, history, representation and that which is political and social. This monograph is the first critical assessment of Keeley's thirty-year career.
Robert McLaughlin Gallery / McMaster Museum of Art (01/2010) 92 pp 10 x 7.5 softcover 978-1-926589-03-9 $22.00 Can. $25.00 U.S. (18 euros)
Brenda Joy Lem: Homage to the Heart
Linda Jansma & M. NourbeSe Adamu Philip
The art of Brenda Joy Lem - ranging from silkscreen prints to video - embraces narrative and storytelling to convey a host of issues from racism and memory to ancient ritual and spirituality. For this exhibition she has been able to take advantage of the Gallery’s Thomas Bouckley Collection, a unique photographic and archival resource centred on Oshawa’s history and development. Being a third-generation Chinese Canadian whose family owned the first hand laundry business in the City, Lem’s expressive narratives have personal meaning. However she expands their significance forcefully within her work. Co-published with the Varley Art Gallery.
The Robert McLaughlin Gallery (09/2009) 64 pp col. ill. 10.5 x 8 in softcover 978-1-926589-02-2 $20.00 Can. $22.95 U.S. (17 euros)
A Bauhausler in Canada: Andor Weininger in the ‘50s
Oliver A.I. Botar
Andor Weininger (1899-1986) was a founder and member of the Bauhaus where he produced a fascinating body of work, mostly related to the avant-garde stage, attaining his greatest success with the Mechanical Stage-Review, a kind of moving abstract painting. Fleeing the National Socialists, Weininger emigrated to Canada where, in the 1950s, he produced a remarkably eclectic body of work, ranging from sketches of Lake Ontario to free, calligraphic abstract works. Yet his correspondence with Bauhaus figures such as Walter Gropius and Xanti Schawinsky reveals a frustration with the conservative cultural scene. Produced upon the occasion of a gift of over 150 works from New York’s Weininger Foundation to several Canadian art institutions, this publication takes a close look at Weininger in Canada, situating the career of this significant European Modernist within the context of the emergent Canadian abstract art scene. Weininger’s work can be found in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Busch-Reisinger Museum at Harvard University, and in many European collections. Published with Gallery One One One, University of Manitoba.
The Robert Mclaughlin Gallery (07/2009) 480 pp col. ill. 10 x 8.5 hardcover 978-0-921500-98-8 $55.00 Can. $57.95 U.S. (38 euros)
Walter Tandy Murch: The Spirit of Things
Bill Jeffries & Ihor Holubizky
Defying categorization, the paintings of Walter Tandy Murch (1907-1967) have been variously described as Realist, Magic Realist and Surrealist. This publication revisits an artist who ignored mid-Twentieth century artistic currents and has been somewhat neglected as a result. Born and trained in Toronto, Murch moved to New York where he studied at the Art Students League, went on to exhibit at the Whitney Museum and establish a long association with the Betty Parsons Gallery. He excelled in book and magazine illustration, and maintained a lifelong commitment to a unique depiction of everyday objects and mechanical devices. Two thoroughly researched essays lay out the scope of Murch’s diverse and original career. The publication’s dustjacket opens into a large illustration. In English and French.
The Robert McLaughlin Gallery (07/2009) 98 pp 50 col. ill. 10.5 x 7.5 in softcover 978-1-926589-00-8 $25.00 Can. $26.95 U.S. (18 euros)
Amy Loewan: Illuminating Peace
Robert Freeman & Jetske Sybesma
By weaving strips of rice paper with computer-generated strips all of which are covered in hand-written words in several languages (words such as compassion, forgiveness, kindness, respect, patience, tolerance), the artist creates a powerful installations dedicated to peace.
The Robert McLaughlin Gallery (06/2009) 54 pp col. ill. 9 x 8.5 in softcover 978-0-921500-97-1 $15.00 Can. $16.95 U.S. (10 euros)
Nobuo Kubota: Hokusai Revisited
Diane Pugen & Terrence Heath
Nobuo Kubota is known not only for as a visual artist but also as a musician and sound performer. His work brings together many forms of art into a single, coherent experience that often encompasses architecture, sound, and visuals. Hokusai Revisited is an elegant reconstitution of the ever-changing dynamic of the natural and manufactured worlds. Composed of pine underpinning and fir slats, the thirty-five foot long structure depicts the peaks and troughs of waves and waterfalls as seen in the accompanying video projection. Nobuo Kubota lives and works in Vancouver.
The Robert McLaughlin Gallery (02/2009) 48 pp col. ill. 10.5 x 8 in softcover 978-0-921500-95-7 $15.00 Can. $16.95 U.S. (10 euros)
Gary Greenwood: Tourist
Greenwood creates visual non-linear stories that force a reconsideration of the space within which we live. The ordinary becomes evocative through new relationships that cut across the variant practices of photography, sculpture and installation. Greenwood feels that his monocular eyesight, the result of a childhood condition, assists him in depicting the third dimension in a unique way.
The Robert McLaughlin Gallery (02/2009) 28 pp col. ill. 9.5 x 6.5 in softcover 978-0-921500-96-4 $12.00 Can. $13.95 U.S. (8 euros
Colleen Wolstenholme: Sugar & Spice
Pan Wendt, Ray Cronin & Jeanne Randolph
Wolstenholme’s practice is eclectic in its materials and vocabularies but singular in its feminist perception of the world. This publication documents three exhibitions of a wide variety of pieces ranging from needlepoint reproductions of drug company logos to porcelain figurines of burka-clad women. Two essays in English and French.
Robert Mclaughlin Gallery (02/2009) 48 pp col. ill. 7.5 x 7.5 in hardcover 978-0-920089-69-9 $12.95 Can. $15.95 U.S. (10 euros)
Wide Open: Meredith Bingham & Kathleen Ritter
Bingham’s paintings and Ritter’s photographs have much in common with regard to sensory experience, perception and a sense of phenomenon. While Bingham’s work echoes the long tradition of modernist painting, Ritter pays homage to the shorter history of Canadian photography. Yet both display a sense of theatricality in their work: Bingham in the physicality of the act of painting and Ritter in the act of performance. This publication of a joint exhibition draws out the connection between modern convention and post-structuralist practices.
The Robert McLaughlin Gallery (08/2008) 32 pp 18 col. ill. 9.5 x 6.5 in softcover 978-0-921500-92-6 $12.00 Can. $14.95 U.S. 10 euros)
Lyndal Osborne: Ornamenta
Virginia Eichhorn & Linda Jansma
For almost four decades, Lyndal Osborne has collected, ordered, classified and studied the world around her. She collects shells, seeds, plants, rocks and other materials from the natural world as well as fabricated items such as discarded wires, computer remnants, and industrial discards. The (re)ordering that Osborne establishes is based within the realm of the personal yet achieves a vast and great resonance. This publication presents two significant works, Garden and Archipelago and is the fruit of a collaboration with several exhibiting galleries. Two essays elucidate the artist’s concerns about the interaction of biotechnology with the land and related issues. Born in Australia in 1940, Osborne has lived in Canada for many years and has exhibited throughout the country.
The Robert McLaughlin Gallery (06/2008) 48 pp 16 col. ill. 10.5 x 8.5 softcover 978-0-921500-93-3 $15.00 ($19.95 U.S. / 12 euros)
David Blatherwick: Cheese, Worms and the Holes in Everything
James D. Campbell
Blatherwick’s paintings express the complex and undefined relationship between digital worlds and nature. With a limited vocabulary of painted lines and shapes that form organic structures of chains or sequences, his works appear to infect the gallery, colonizing its spaces with new life. An essay and several colour illustrations document a new direction for an artist hitherto known for his digital output.
The Robert Mclaughlin Gallery / Art Gallery of Windsor (01/2008) 44 pp 22 col. ill. 6.5 x 9.5 in softcover 978-0-919837-77-5 $14.95
Mark Nisenholt: Stranger in Paradise
David Aurandt & Glenn Alliosn
The work of Mark Nisenholt results from his facility with new technology and new techniques of digital imaging. But that facility results from his ability to make his observed reality come to expressive life in drawing and printmaking. Nisenholt has been able to synthesize the older technologies of drawing and printmaking with computer-driven digital imaging thereby creating a distinctive artistic method.
The Robert McLaughlin Gallery (12/2007) 48 pp col. ill. 9.5 x 7 in softcover 978-0-921500-89-6 $12.00
Robert Houle: Troubling Abstraction
Carol Podedworny, Mark A. Cheetham, Gerald McMaster & W. Jackson Rushing III
Robert Houle has been a visionary artist since the beginning of his career. "Native artists," he wrote in 1982, "are committed to involvement in the polemics of modern art. Meaning derives from living in the twentieth century, where painting ranges from realism to abstraction and sculpture varies from shamanism to assemblage." Employing the traditions of modernist painting, particularly as practiced by Jackson Pollock and Barnett Newman, Houle has tenaciously insisted on reciprocity among the aesthetic and cultural specificities with which he engages. After years of breathtaking solo exhibitions, he returns here to his first stylistic impulse: abstraction and the parfleche figure. This important publication, with three essays and an artist's statement, documents a unique and vital side to Houle's innovative artistic practice. Mark A. Cheetham is Chair of the Department of Art at the University of Toronto. Gerald McMaster is Curator of Canadian Art at the Art Gallery of Ontario. W. Jackson Rushing III is the author of numerous books, notably, Native American Art in the Twentieth Century (Routledge) and Allan Houser: An American Master (Abrams).
McMaster Museum of Art / The Robert McLaughlin Gallery (11/2007)
105 pp 36 ill. (24 col.) 7 x 5 in softcover 978-0-9783585-2-5 $20.00 Can./U.S. (16 euros)
Viktor Tinkl: Making Things
Linda Jansma & Duncan Farnan
The creations of Viktor Tinkl incorporate sculpture, architecture and painting and show a deep affinity with Art Brut and Outsider Art. Yet hs fantastic sculptures made from recycled material go beyond pure whimsy, revealing a great familiarity with the history of European art and architecture. This publication of a rare gallery exhibition illuminates a very particular forty-year career. Also explored is Tinkl's countryside home and workshop, the reclaimed land hosting an amazing assembly of the artist's fanciful installations. With an interview, an essay and several full page plates. Copublished with the Art Gallery of Mississauga.
The Robert McLaughlin Gallery (07/2007) 56 pp 36 col. ill. 10.5 x 8 in softcover 978-0921500-87-2 $20.00 Can./U.S. (16 euros)
Mary Anne Barkhouse: Boreal Baroque
Jeff Thomas & Linda Jansma
Mary Anne Barkhouse belongs to the Nimpkish band, Kwakiutl First Nation. Her sculptural work examines environmental concerns and indigenous culture through the use of animal imagery. Wolves, ravens, moose and beaver are juxtaposed against a diversity of background situations. In Boreal Baroque, the work's setting is inspired by the palatial grounds at Versailles where the wild is juxtaposed with the wildly opulent.
The Robert McLaughlin Gallery (06/2007) 64 pp 16 col. ill. 9 x 7 in softcover 978-0-921500-85-8 $20.00 Can./U.S. (16 euros)
Vera Jacyk: Chysto, Chysto, Chysto
Olexander Wlasenko & Vera Jacyk
Using her own history and that of her parents as the key, Jacyk creates installations that call upon memory and the denial of memory. The Canadian-born daughter of Ukrainians forced to flee their homeland during the Second World War, Jacyk attempts to find a meeting place between past and present. Through her work, she hopes that the viewer will be motivated "to explore personal silences and the nature of power and the continuing threat of its misuse in both the public and private domains." The word "Chysto" connotes cleansing, including ethnic cleansing.
The Robert McLaughlin Gallery / MacLaren Art Centre (04/2007)
46 pp col. ill. 10 x 7 in softcover 978-0-921500-83-4 $12.00 Can./U.S.
Don Jean-Louis: Silver Works
Gary Michael Dault, Ihor Holubizky & Lisa Baldissera
Don Jean-Louis arrived in Toronto just as a new group of post-WWII artists was beginning to exert its presence both locally and nationally. Like these artists, notably Michael Snow and Joyce Wieland, Don Jean-Louis first exhibited at the Issac's Gallery, at the time the country's foremost proponent of contemporary art. By the mid-1960s he had abandoned painting and was working with plastic and neon, and in 1969, he conceptualized and developed an interactive television-video environment. The focus of this publication is Jean-Louis's Silver Works done in 1985 and 1986, a return to paint but in an unconventional way, using pigment mediums and processes to generate a visual language of the very process of making and thinking. The Silver Works, therefore, represent a key moment for an artist at mid-career. Co-published with the The Art Gallery of Greater Victoria.
The Robert McLaughlin Gallery (01/2007) 67 pp 45 ill (10 col.) 11.5 x 9 in softcover 978-921500-77-3 $20.00 Can./U.S.
Janet Read: Ocean As Vessel
Janet Read is a painter with an unusual mastery of colour relationships whose non-figurative canvases express a profound connection between the natural world and contemplative exercise. Her work is also informed by an acute social conscience but not in any overt polemical way; she prefers the meaning of her experience and thought to rise naturally from an intuitive base in colour and form rather than from explicit image or symbol.
The Robert McLaughlin Gallery (01/2007) 48 pp 28 col. ill. 8 x 10 in softcover 978-921500-81-0 $12.00 Can./U.S.
Rody Kenny Courtice: The Pattern of Her Times
As a young woman, Rody Kenny Courtice (1891 - 1973) was one of the first women to enter Toronto's Ontario School of Art, now the Ontario College of Art and Design. Her teachers included members of the Group of Seven, which in the 1920s was the most avant garde art movement in the country. Courtice was very much a part of discarding the need for European art credentials and threw herself into the new Canadian modernist movement. In 1931 she was even invited to exhibit with the Group of Seven. Rody Kenny Courtice, however, was growing in another artistic direction.For the rest of her long life, Courtice continued to exhibit either on her own or in group shows with other women artists, notably Isabel McLaughlin, Yvonne McKague Houser, Paraskeva Clark and Doris McCarthy. The culmination of her constant association with other women artists came in the 1948 Toronto exhibition, '4 Women Who Paint'. Years later she would be the first woman artist to be invited to participate in an exhibition of Canadian abstract art. Her work ranged from the whimsical to the abstract. This first complete monograph serves as a biography of Courtice and her times. It testifies to the talent and ambition of Canadian women painters between the wars, and to their almost complete erasure from art history. Supplemented with numerous colour plates, photographs and personal letters by and to Rody Kenny Courtice.
Robert McLaughlin Gallery (11/2006) 156 pp 38 col ill 9 x 6 in
Softcover: ISBN: 0-921500-73-4 / 978-0-921500-73-5 $28.00 Can./U.S.
Hardcover: ISBN: 0-921500-79-3 / 978-0-921500-79-7 $40.00 Can./U.S.
Deborah Arnold: Glyphs of Nature
Stone sculptor, Deborah Arnold investigates the essence of the natural world. Discrete primal forms emerge from elemental materials of iron, alabaster, marble and granite as states of feeling emerge from unformed life.
The Robert McLaughlin Gallery (11/2006) 38 pp 28 col. ill. 10 x 8 in softcover 978-0-921500-75-9 $15.00 Can./U.S.
Arnaud Maggs: Nomenclature
Arnaud Maggs has a 40 year photographic career marked by an interest in systems. This publication highlights his photographs of two seminal studies on color published in the 19th century. 'Werner's Nomenclature of Colours' and 'Cercles chromatiques de M. E. Chevreul' had a profound impact on naturalists, scientists and artists. Langford outlines their history and the extent to which they influenced society; even Darwin carried a copy of Werner's on the Beagle. Maggs gives us magnificent photographs of rare copies of both books. Concurrent with the publication of this catalogue, Arnaud Maggs is a recipient of the Governor General's Award. In English and French.
Arnaud Maggs a une carrière photographique qui s'étend sur plus de 40 ans, carrière marquée par un intérêt pour les systèmes. Cette publication nous présente des photographies de deux études sur la couleur publiées au 19e siècle : la 'Werner's Nomenclature of Colours' et 'Cercles chromatiques' de M. E. Chevreul. L'impact de ses études pour les naturalistes, scientifiques et artistes a été ressentit dans plusieurs disciplines. Langford résume l'histoires des études ainsi que l'étendu de leurs influences sur la société passée et présente. Maggs nous présente de magnifiques photographies de copies rares des deux ouvrages. Maggs est un récipiendaire du Prix du Gouverneur Général en arts visuels 2006. En français et anglais.
The Robert McLaughlin Gallery (02/2006) 84 pp col. ill. 10 x 8 in softcover 0-921500-63-7 $18.00 Can./U.S.
Jesse Stewart: Waterworks
Publication accompanying first of five exhibitions on the elements. Stewart's installation pieces incorporate and reflect on sound in various ways. The essay contextualizes the work by discussing several historical precedents. With an interview and an artist's statement.
Robert McLaughlin Gallery (02/2006) 38 pp col. ill. 7 x 7 in 0-921500-65-3 $12.00 Can/U.S.
Rita Letendre: Beginnings in Abstraction
The gallery's founding mandate has been to examine and contextualize the beginnings of non-representational art in work of groups like Painters Eleven and their contemporaries. Rita Letendre (born 1928) was one of the more prominent members of the Quebec-based group of abstract painters known as the Automatistes. This beautifully illustrated publication focuses on work produced by Letendre between 1954 and 1966 and rehabilitates her status as a key actor in the development of Canadian modernist art.
Robert McLaughlin Gallery (12/2005) 34 pp 14 col. ill. 10.5 x 8 in softcover 0-921500-61-0 $10.00 Can./U.S.
Jane Buyers: Inscriptions
Jane Buyers makes sculptures that reference books. Her work focuses on the physical, intellectual and metaphorical associations of the book in contemporary culture. She is interested in the open book as both a physical form and as symbolic imagery. The book is at once a site and a devise of knowledge, a cohesive architecture of information that speaks of the possibilities of learning.
Robert McLaughlin Gallery (12/2005) 44 pp 20 ill. 9 x 6.5 softcover 0-9693823-8-3 $10.00 Can./U.S. (8 euros)
Linda Duvall: Enough White Lies to Ice a Wedding Cake
Linda Jansma & Dan Ring
Duvall explores the presence of truth in our lives through the use of a polygraph machine, fictional scenarios and volunteers.
The Robert McLaughlin Gallery (09/2005) 46 pp 32 col. ill. 10 x 7 in softcover 0-951500-57-2 $12.00
R. S. McLaughlin Collects
David Aurandt & Linda Jansma
The Robert McLaughlin Gallery (2004) 51 pp col. ill. 0-921500-88-2 $15.00
Jeffrey Burns: Terrene
Traditional landscape paintings create boundaries to our vision. Jeffrey Burns, through his combination and integration of the seemingly fantastic, has mediated for the viewer a new landscape that reconnects into those natural systems. He expands our notion of the landscape by asking the viewer to read the unrecognizable, and discover that in the end it is familiar. "Terrene" is defined as "belonging to the earth or to this world; earthly, worldly, secular, temporal, material, human." Publication of an exhibition travelling across the country throughout 2003-2004.
The Robert McLaughlin Gallery (2003) 48 pp 29 col. ill. 10.5x8.5 in softcover 0921500785 $12.00 Can./U.S.
Nell Tenhaaf: Fit/Unfit
Linda Jansma, Kim Sawchuk & Dot Tuer
A comprehensive essay and an interview show that Tenhaaf's concerns, at one time considered entirely theoretical, are now the forefront of the public debate surrounding cloning, gene therapy and DNA fingerprinting. In English and French.
Robert McLaughlin Gallery (2003) 72 pp 25 col. ill. 10.5x9 in softcover 0921500742 $20.00 Can./U.S.
An Extraordinary Life: Isabel McLaughlin
Isabel McLaughlin was an important early modernist painter in Canada, preoccupied with design, colour and the study of tangible space. Her friends and mentors included Arthur Lismer and Yvonne McKague Housser, both of whom were her teachers at the Ontario College of Art; Lawren Harris and A.Y. Jackson. A brief biography.
Robert McLaughlin Gallery (2003) 8 pp ill. 9x6 in 0921500688 $3.00 Can./U.S.
Carl Beam: The Whale of Our Being
Carl Beam gained international recognition in two watershed exhibitions, the National Gallery's Land, Spirit, Power and the Canadian Museum of Civilization's Indigena. His practice is based on collage and photographic imagery and is imbued with Native issues of land and repatriation. The Whale of Our Being, a multitude of paintings and prints produced since 1996, makes the whale a metaphor for looking at the world. "Under the umbrella of the whale are commodification and dollars and killing, all things possible. The Whale of Our Being includes whatever has happened to the whale, which in some kind of way happens to everything else."
Robert McLaughlin Gallery (2002) 60 pp 13 col.ill. 8x8 in. softcover 0921500645 $10.00 Can./U.S.
Brian Kipping: Descriptions of What is Known
Linda Jansma & Steve Armstrong
In her essay Jansma elucidates Kipping's pivotal role in the establishment of Toronto's artistic community over the past several years. Entitled Painting About Photography, Armstrong's essay uses Richter's stated use of painting as a means toward photography as a way of understanding Kipping's work. Brian Kipping has exhibited across the country, is a founding member of YYZ Artists' Outlet and has received two honourable mentions for the Great Canadian Print Competition.
Robert McLaughlin Gallery (2002) 43 pp 28 col. ill. 9x8.5 in. softcover 0921500602 $10.00 (Can./U.S.)
Two-way Mirrors / Images Into Exile: Grethe Lauresen & Peter Hiort Petersen
Presented within the gallery's commitment to Painters Eleven and to the concerns that arise from the creative stress between representational and non-representational expression, this exhibition catalogue focuses on the work of two contemporary painters whose work testifies to the inheritance of modernism's best traditions. Born in Copenhagen, both artists live and work in Canada.
Robert McLaughlin Gallery (2002) 28 pp 8 col. ill. 8x9 in. 0921500629 $10.00
Jean-Marie Martin: Necessary Paintings
Within the gallery's significant contribution to non-representational art, this exhibition catalogue presents the work of a Quebecois artists living in New York.
Robert McLaughlin Gallery (2002) 22 pp 16 col. ill. 10x8 in. 0921500580 $7.00
Finding Camp X: Contemporary Consideration of an Enigma
Four artists return to a long abandoned secret military training camp constructed during World War II on the outskirts of Whitby Ontario.
Robert McLaughlin Gallery (2002) 32 pages 12 ill. (6 col.) 8x9 in. 0921500564 $7.00
The Birth of the Modern: Post-Impressionism in Canada c. 1900-1920 /
La Naissance de la modernité : Le postimpressionnisme au à1920
Through a fascinating mix of historical documentation, critical reviews and personal correspondence, Murray tracks the tumultuous emergence of this "New Art" , the Canadian artists who championed it and the critics who fought it at every turn. John Lyman, David Milne, Lawren Harris, Tom Thomson and Emily Carr lept at the chance to escape outworn convention but the art they produced was slightly out-of-place in the evolution of world Post-Impressionism. Theirs was an interpretation marked by lyrical intensity and by an attachment to Canada's savage physical environment. Through a potent and unique combination of foreign influence and local naturalism, they invented not only a new art form but a vision of Canada that remains with us today. Nineteen artists' biographies, personal correspondence from John Lyman, Emily Carr and Anne Savage, an extensive bibliography and 40 colour plates complete this important contribution to the understanding of Canadian culture. The cover illustration is of a newly discovered Emily Carr. Joan Murray is the author of numerous publications on Canadian art, specifically on the Group of Seven and Tom Thomson. In English and French.
À travers un mélange de documentation, de revues d'époque, ainsi que de correspondances personnelles l'auteur trace l'émergence tumultueuse de ce "nouvel art", des artistes qui y ont participé et de critiques qui l'assaillent à chaque tournant. John Lyman, Davis Milne et Emily Carr ont bondi sur la chance de fuir les conventions démodées. Les oeuvres qu'ils ont réalisées sont néanmoins légèrement hors sphère quant à l'évolution du monde post-impressionniste. Leurs interprétations sont imprégnées d'intensité lyrique et d'un attachement à la nature sauvage de l'environnement canadien. À travers une combinaison unique d'influences étrangères, ils ont inventé non seulement une nouvelle vision d'art mais également une nouvelle vision de leur pays. Les biographies de dix-neufs artistes, des correspondances intimes, une bibliographie extensive, ainsi que 40 planches couleurs complètent cette oeuvre d'une contribution essentielle à la compréhension de l'histoire et de la culture du Canada. En français et anglais.
The Robert McLaughlin Gallery (2001) 160 pages 10x8 in. 40 col. ill. hardcover with full-colour dustjacket 0921500483 $35.00 (Can./U.S.)
Kazuo Nakamura: The Method of Nature / La méthode de la nature
Ihor Holubizky, Walter Klepac & Christopher Cutts
Nakamura's astonishing output - from watercolour landscapes and still lifes in oil to monochromatic string paintings and spatial illusionary works - was difficult to classify and, when it was critically assessed, race was sometimes cited as a factor. Yet his contribution was crucial to the development in Canadian art in both discourse and practice. Holubizky examines work produced between 1953 and 1964, contextualizing it within what came to be called "the crisis of abstractionism" and "achieving the modern." Klepac and Cutts elucidate an important body of work that developed during the 1970s, the Number Structure Works. Citing it as a precursor of conceptual art, Klepac treats these mathematically-based paintings within an international context, drawing parallels with work by Opalka and LeWitt. With its focus on distinct aspects of Nakamura's multifaceted oeuvre and career, this publication fills an enormous historical gap and is a lasting tribute to a unique and challenging oeuvre. Kazuo Nakamura lives and works in Toronto. In English and French
Cette publication célèbre la contribution qu'ont value la réflexion et la pratique de Kazuo Nakamura (né à Vanvouver en 1929) à certains développements cruciaux de l'art canadien . Des essais en brossent un tableau exhaustif de ce peintre remarquable. Un double point de vue est présenté : d'une part , on examine et place dans leur contexte le groupe d'oeuvres formatrices réalisées de 1953 à 1964 et concomitantes de ce qui a été plus tard comme une période de "crise de l'abstrait" . D'autre part, on examine un groupe d'oeuvres important allant des années 1970 à nos jours. Kazuo Nakamura vit et travaille à Toronto. En français et anglais.
The Robert McLaughlin Gallery (2001) 125 pages 48 ill. (24 col.) 10x8 in. softcover 0921500505 $20.00 (Can./U.S.)