The Robert McLaughlin Gallery

 


THE ROBERT MCLAUGHLIN GALLERY


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

 

Razzle Dazzle: Uses of Abstratction
Gil McElroy

During both the first and second world wars, Canadian, American and European artists, including Donald Cameron Mackay, Ellsworth Kelly and Grant Wood lent their talents to the military development of optical camouflage. Both naval and civilian ships were painted in strong geometric patterns and bold contrasting coloration so as to deceive the enemy. These patterns came to be called "Razzle Dazzle". Optical deception was subsequently taken up by an entire generation of artists who directly or indirectly learned the lessons of camouflage. This unexpected genesis of geometric abstraction had a critical impact upon the development of modernist art. With work by Arthur Lismer, Jack Bush, Yves Gaucher, Guido Molinari and many others.

The Robert McLaughlin Gallery (01/2008) 92 pp 35 col. ill. 10 x 8 in softcover 978-0-921500-91-9 $20.00 (16 euros)


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)

18 Illuminations: Contemporary Art and Light
Corinna Ghaznavi & Carla Garnet

The concept of light is a literal source of insight and a metaphorical image of revelation. The poetic, scientific, philosophical and conceptual ideas surrounding light are explored by works that range from Tom Dean's single channel video of a burning staircase, to Reuel Dechene's miniature lights decorating hubcaps, to Sheila Moss's suspended lantern, to Chrysanne Stathacos' photographs of auras. Two essays explore the work of some of Canada's most luminary artists, notably Stephen Andrews, Stan Denniston, Sarindar Dhaliwal, Reuel Dechene, Micah Lexier, Lisa Neighbour and Ed Pien. Co-published in conjunction with the annual Festival of Northern Light.

The Robert McLaughlin Gallery (05/2007)
112 pp col. ill. 10.5 x 9 in softcover 978-1-929021-45-1 $24.95 Can./U.S. (20 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. (10 euros)


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. (16 euros)


Janet Read: Ocean As Vessel
David Aurandt

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. (10 euros)


Rody Kenny Courtice: The Pattern of Her Times
Linda Jansma

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 / hardcover
Softcover: ISBN: 0-921500-73-4 / 978-0-921500-73-5 $28.00 Can./U.S. (22 euros)
Hardcover: ISBN: 0-921500-79-3 / 978-0-921500-79-7 $40.00 Can./U.S. (32 euros)


Deborah Arnold: Glyphs of Nature
David Aurandt

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. Larger works are designed for a natural setting as they emphasize the presence of humankind in the earth's systems. Smaller sculptures bring minute flashes of subjective observation of our natural world indoors, each piece being a symbol or glyph of nature. Trained in Italy, Arnold has exhibited her work in a number of group and solo shows and her work can be found both public and private collections in Canada and the States.

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. (12 euros)


Arnaud Maggs: Nomenclature
Martha Langford

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. (14 euros)


Jesse Stewart: Waterworks
Ben Portis

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. (10 euros)


Rita Letendre: Beginnings in Abstraction
Linda Jansma

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. (8 euros)


Jane Buyers: Inscriptions
Carol Podedworny

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)


Spell
Jordan Broadworth & Jonathan Forrest

Acting as curators, two artists focus on the way artists comprehend other artists' work and the artists selected are those whose work the curators have followed or those with whom they share affinities in their own work.

Robert McLaughlin Gallery (12/2005) 16 pp col. ill. 7 x 9 in 1-896359-52-6 $7.00 Can./U.S. (6 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 artist considers the ease with which we can, and do, lie and the presumption that a viewer can readily distinguish the truth. Two installations of "interviews" are presented on split screens, giving the viewer the opportunity to study both the questioner and the questioned.

The Robert McLaughlin Gallery (09/2005) 46 pp 32 col. ill. 10 x 7 in softcover 0-951500-57-2 $12.00 (10 euros)


Sylvie Bélanger: Fragments d'une histoire
Geoff Miles & Carol Moore

Through the combination of image and sound, Bélanger investigates the ambiguity of reality and artifice, pleasure and pain. From her projected images a lulling environment gradually transforms itself into a haunting and destabilizing psychological space. Two essays, one psychological and the other political, delineate our resistance to postmodern culture. In English and French.

The Robert McLaughlin Gallery (09/2005) 34 pp 20 col. ill. 6 x 8 in (with audio CD) 1-894651-32-4 $10.00 (8 euros)


About Face: Portraits and Other Pictures
Olexander Wlasenko

Publication of an exhibition where portraits of the artists are placed alongside their works in an effort to "give voice" to the artist as a public figure.

The Robert McLaughlin Gallery (07/2005) 28 pp col. ill. 9 x 6 in 0-921500-59-9 $7.00 (6 euros)


Peter Dykhuis & Adrian Göllner: Hide In Plain Sight
Gil McElroy

Halifax-based painter Dykhuis and Ottawa artist Göllner draw upon the Cold War agenda that was forced upon American modernist art. In their work, both artists explore the encoding of abstraction in relation to select works of mid-twentieth century abstract art.

Robert McLaughlin Gallery (2005) 22 pp col. ill. 9.5 x 5.5 in 0-921500-55-6 $6.00 (5 euros)

E.G. Blundell & Victoria Ward: Marks + Concessions
David Aurandt & R. M. Vaughan

Publication of the work of two artists who are partners in life and art. Their mutual interest in landscape, geography and geology has produced a pictoral œuvre that rejects a traditional approach to landscape painting.

Robert McLaughlin Gallery (2005) 48 pp col. ill. 0-921500-53-X $10.00 Can./U.S. (8 euros)

2nd Site
Olexander Wlasenko
2nd Site builds upon the success of early-carrer artists who share a geographic and experimental affinity having been born and raised in the Durham region.

The Robert McLaughlin Gallery (2004) 32 pp 17 col. ill. 0-921500-47-5 $4.00 Can./U.S. (3 euros)

Mavourneen Trainor : Journey
David Aurandt

Trainor's work originates with images that are captured photographically, translated in the imagination, composed in her computer, and completed in the process of printing. Trainor continues to examine detailed reflections on her own past and present through digitally-generated and digitally-produced works.

The Robert McLaughlin Gallery (2004) 30 pp 22 col. ill. 0-921400-49-1 $10.00 Can./U.S. (8 euros)

Corruption of Reality: Redefining Realism
David Aurandt

This re-examination of objective and representional strategies employed by painters and photographers who bring us to a new understanding of "realism".

The Robert McLaughlin Gallery (2004) 36 pp 19 col. ill. 0-921500-51-3 $10.00 Can./U.S. (8 euros)

Lorna Mills: Reality Show
Corinna Ghaznavi

The video and photo-based work by Lorna Mills examines how contemporary media and technology prompt our shifting perception of reality. Her cibachrome prints taken from photographs of sports coverage shot from the television screen isolate singular nondescript moments in real time. Separated from the narrative of the game, these poetic visual fragments can be appreciated aesthetically on their own.

The Robert McLaughlin Gallery (2004) 44 pp col. ill. 10 x 8.5 in softcover 0-929021-28-2 $15.00 Can./U.S. (12 euros)

Salvation: Colm MacCool & Peter McFarlane
Virginia M. Eichhorn

The Robert McLaughlin Gallery (2004) 16 pp col. ill. 0-921500-90-4 $5.00

R. S. McLaughlin Collects
David Aurandt & Linda Jansma

The Robert McLaughlin Gallery (2004) 51 pp col. ill. 0-921500-88-2 $15.00

Stacey Lancaster: The Trailer Series
Linda Jansma

The Robert McLaughlin Gallery (2004) 10 pp col. ill. 0-921500-84-x $3.00

Kevin Yates: My Ex-Girlfriend is a Slut
Linda Jansma & Stuart Reid

The Robert McLaughlin Gallery (2004) 44 pp col. ill. 0-921500-86-6 $12.00

"1953"
Ihor Holubizky & Robert McKaskell

With the founding of the Toronto-based group Painter's Eleven, 2003 marks the 50th anniversary of the birth of modernism in Canada. This publication explores the spirit that drove these artists against a background of developments in science, technology, culture and society. The Massey Report had characterized Canadian culture as "virtually barren˜ and the lack of public venues and funding was forcing artists to organize and exhibit in challenging ways. Two essays provide a wealth of detail about the events and protagonists of the times. Accompanied by a comprehensive listing of that year's cultural markers from the best-selling books and highest-grossing movies to the movements of artists like Michael Snow and Paul-Emile Borduas. In English and French.

The Robert McLaughlin Gallery (2003) 96 pp 31 ill (19 col) 10x7.5 in softcover 0-921500-82-3 $20.00 Can./U.S. (16 euros)

Jeffrey Burns: Terrene
Linda Jansma

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. (9 euros)

Piano Works: Imagining the R. S. Williams Piano Factory
Gil McElroy

Robert McLaughlin Gallery (2003) 21 pp col. ill. 0-921500-72-6 $7.00Can./U.S.

Name Paintings: Gary Spearin
Ihor Holubizky

Robert McLaughlin Gallery (2003) 47 pp col. ill. 0-921500-80-7 $12.00 Can./U.S.

Random Cities
Olexander Wlasenko

The gallery demonstrates its commitment to young artists with this survey of early-career artists from the Durham Ontario area.

The Robert McLaughlin Gallery (2003) 16 pp 8 ill 8.5x6.5 0921500769 $3.00 Can./U.S.

Nell Tenhaaf: Fit/Unfit
Linda Jansma, Kim Sawchuk & Dot Tuer

Nell Tenhaaf enters the scientific paradigm as an artist and, as such, has held a unique position on the international art scene for the past fifteen years. Affirming its subjective nature over its objective reputation, Tenhaaf explores science and its ethical predicaments through a multi-media production that includes interactive video, lightboxes and photography. 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. Nell Tenhaaf's work has been the subject of much discussion, most recently in Women, Art & Technology edited by Judy Malloy for The MIT Press (2003). She lives and works in Toronto. In English and French.

Robert McLaughlin Gallery (2003) 72 pp 25 col. ill. 10.5x9 in softcover 0921500742 $20.00 Can./U.S.( 16 Euros)

Neville Clarke: Threshold
Linda Jansma

Neville Clarke's watercolours are remarkable for their technical achievement and he has found an eloquent and particular voice for his subject: pregnant women. Born in Kingston, Jamaica in 1959, Neville Clarke is a graduate of the Ontario College of Art and Design.

Robert McLaughlin Gallery (2003) 40 pp 26 ill (23 col) 10x8 in softcover 092150070X $10.00 Can./U.S. (7 euros)

An Extraordinary Life: Isabel McLaughlin
Joan Murray

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.

Watershed: Tony Cooper & Rowena Dykins
Linda Jansma

Through sensitive installations each of the artists speak to the individual flux of energies within the environment. Sculpture, photography, video and paint become the material of exploration of both our urban and wilderness landscapes.

Robert McLaughlin Gallery (2003) 26 pp 15 col. ill. 6.5x8.5 in 0921500661 $7.00 Can./U.S.

Carl Beam: The Whale of Our Being
Joan Murray

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

The painter's renderings of dusk on King Street and sunlight on the Island Ferry are immediately recognizable to anyone who knows Toronto. Their resemblance to photo-realism, however, is superficial and each painting, with its emphasis on the inventory of things, reflects Kipping's interest in the literature and films of Alain Robbe-Grillet. 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
David Aurandt

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
Samantha Hoover

Within the gallery's significant contribution to non-representational art, this exhibition catalogue presents the work of a Quebecois artists living in New York. Martin's paintings explore social issues, particularly those arising from the cultural inducement to depend on prescription drugs. New York freelance curator Hoover discusses Martin's work within the context of other notable uses of pharmecuticals within oeuvres, Damien Hirst and General Idea.

Robert McLaughlin Gallery (2002) 22 pp 16 col. ill. 10x8 in. 0921500580 $7.00

Finding Camp X: Contemporary Consideration of an Enigma
Gary Greenwood

Four artists return to a long abandoned secret military training camp constructed during World War II on the outskirts of Whitby Ontario. Instigated by photographs of the camp that are part of the gallery's own collection, the on site projects of Steven Frank, Anitra Hamilton, Nina Levitt and Sean McQuay provide new contextualizations for the camp, the photographs and the experience of war.

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
Joan Murray

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

Born in Vancouver in 1926, Kazuo Nakamura moved to Toronto to study art, eventually becoming a member of Painters Eleven (1953 - 1960). He participated in such watershed exhibitions as The National Gallery's First Biennial (1955) and the Smithsonian's Canadian Abstract (1956) but, because he kept his distance from abstract-expressionism both stylistically and personally, he was left in a critical limbo for decades to come. His 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.)

Art & Technology: Paradise Refracted
David Aurandt& Earl Miller

Situating contemporary art within the historical development of our relationship to technology from Da Vinci up to and beyond 2001, A Space Odyssey, Arnault asserts that both art and technology spring from the same source, the imagination, and that each needs the other to fully develop.

The Robert McLaughlin Gallery (2002) 36 pages, 12 col. ill. 9x9.5 in. 0921500548 $8.00

Bev Pike: Microscopic Remains
Linda Jansma

The ropes and knotted materials that float through the surfaces of Pike's large-scale paintings are reminiscent of viscera encapsulated in the body. In her essay, Jansma delineates how the work, at once gigantic and intimate, reflects concerns with mourning and death.

Robert McLaughlin Gallery (2001) 36 pages, 6 col. ill. 0921500394 $5.00 (Can./U.S.)

Paint and Ink: the Tools of Kathryn Bemrose and Ray Mead
James D. Campbell

Catalogue of a collaborative exhibition with the work of Ray Mead, a member of Painters Eleven, and contemporary Toronto artist Kathryn Bemrose. Campbell examines both artists' ability to refrain from excess and emphasizes their fidelity to the act of painting.

Robert McLaughlin Gallery (2001) 28 pages, 22 ill. (12 col). 10x10 in. 0921050043 $6.00 (Can./U.S.)

Energy Implosions: The (905) Imagination.
Olexander Wlasenko.

Catalogue from a group exhibition focusing on artists from the Oshawa region, an area known more for its manufacturing rather than cultural nature.

Robert McLaughlin Gallery (2001) 24 pages, 10 ill. 9x9 in. 0921500459 $5.00

Geoffrey James: Parks and Walkways in Oshawa (out of print)
Dyan Marie & Linda Jansma.

The Robert McLaughlin Gallery (2001) 24 pages, 18 ill. (4 col.) 5x9 in. 0921500416 $5.00 (Can./U.S.)


METALogic: Sculpture from the Collection of The Robert McLaughlin Gallery.
Linda Jansma.

An overview of the gallery's extensive collection, characterized by the author as lying a step beyond Minimalism. With work by Charles Gagnon, Ted Bieler, Henry Saxe and more.

The Robert McLaughlin Gallery (2001) 20 pages, 8x8 in., 9 ill., 0921500378 $5.00 (Can./U.S.)


Memory & Nature: The Iris Group at the Millenium.
Linda Jansma.

Composed of 14 artists of various disciplines, the Iris Group defines itself as a "group with feminist ideals that is not so much concerned with group exhibitions, but is rather a forum within which alliances could be generated naturally." Each artist provides a work and an artist's statement.

The Robert McLaughlin Gallery (2000) 22 pp. 14 ill. 10x7 in. 0921500351 $5.00

Tempus Fugit.
Linda Jansma & Ihor Holubizy.

By combining work by contemporary and past artists, the essayists explore social, historic, cultural and scientific aspects of time. Artists studied include Micah Lexier, Nelson Henricks and Abraham Brueghel.

The Robert McLaughlin Gallery (2000) 26 p., 10 ill., 8.5x6.5 in., 0921500297 $7.00

Victoria Lewis: Fragments of a Work in Progress: Aspects of My Father's House.
James D. Campbell.

Lewis' photographic images speak of a human presence long since erased; a well-used sink, the corner of a matress, the appearance of a shoe. In his essay, Campbell looks at the work from a Jungian perspective.

The Robert McLaughlin Gallery (2000) 20 p., 14 ill., 10x8 in., 0921500335 $7.00

Dream Ecology
Maralynn Cherry

Seven artists from a variety of disciplines explore the issue of the body within an ecological discourse. Cherry examines the dialogue that exists between dreams and our environmental response to the unconscious.

The Robert McLaughlin Gallery (2000) 20 p., 8 ill., 6x8 in., 0921500319 $7.00

Through An-Other's Eyes: White Canadian Artists - Black Female Subjects /
Le Regard de l'autre: Artistes canadiens blancs - Sujets féminins noirs.
Charmaine Nelson.

In this profile of over two hundred years of Canadian representation, Nelson explores the national, social, cultural and individual artistic identities as they are produced in relation to sex, sexuality, race, class and gender.
Un regard au-delà des représentations de la femme noire depuis les deux cent dernières années. L'auteure explore des identités artistiques nationales, sociales, culturelles et individuelles puisqu'elles sont produites en relation avec le sexe, la sexualité, la race, la classe et le genre.

The Robert McLaughlin Gallery (1998) 57 p., 34 ill.(6col.), 0921500238 $12.00

The Four Seasons
Joan Murray

Thematic presentation from the permanent collection highlighting artists from the late nineteenth century through to the Group of Seven, Painters Eleven and present day. Full-colour plates.
Robert McLaughlin Gallery (1998) 56 p., col. ill., 0921500211 $10.00

Canadian Collage
Joan Murray.

The history of the discipline from 1939 to present day. Artists include Michael Snow, Harold Town, Richard Gorman, Greg Curnoe ,Louis Comtois, and David Bolduc.

The Robert McLaughlin Gallery. (1997) 66 p., 9x7.5 in / 23x19 cm, 46 ill. (22 col.) 9921500173 $8.00

Reconstructing Nature Recent Work by Maralynn Cherry & Marilyn McAvoy
Linda Jansma

While Cherry works in a more conceptual mode (site installations) and McAvoy references more traditional models (oils, mixed media), both artists share a concern with nature and the environment as well as the still-life as their point of departure.

The Robert McLaughlin Gallery (1996) 16 p., 092150019x $5.00

Linda Ward Selbie: Isola
Kate Regan

An installation featuring large-scale colour xerox photographs of Sicily.

The Robert McLaughlin Gallery. (1996) 29 p., ill., 9x11.5 in / 22x29 cm, 0921500157 $12.00

Michael Forster : Order Out of Chaos: Sixty Years of a Canadian Artist /
Ordre en marge du chaos: Soixante ans dans la vie d'une artiste canadien
The Robert McLaughlin Gallery. (1993) 87 p., ill., 9x9 in / 23x23 cm, 0921500343 $15.00

Dorothy Cameron: Private Eye: Selected Works 1979-91.
Joan Murray.

The Robert McLaughlin Gallery. (1993) 18 p., ill., 9x10 in / 23x25 cm, 0921500289 $7.00

A Personal View: Photographs from the Collection of Carole and Howard Tanenbaum.
The Robert McLaughlin Gallery. (1992) 48 p., ill., 11.5x8.5 in / 29x21 cm, 0921500149 $20.00

Garfield Ferguson (Out of print)
Joan Murray

The Robert McLaughlin Gallery. (1991) 28 p., ill., 8x8.5 in / 20x21 cm, 0921500068 $10.00

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