Southern Alberta Art
Gallery
Southern Alberta Art
Gallery
Colwyn Griffith: Empire Projects
Rocío Aranda-Alvarado
Colwyn Griffith produces large-scale colour photographs that question the ethics of western consumption and empire. He uses candy and junk foods to construct elaborate reproductions of icons of excess such as Graceland and Iraq’s Ministry of Oil. For several years, much of Griffith’s practice has employed the use of processed food to investigate notions of landscape, tourism, consumption and history.
Southern Alberta Art Gallery (06/2008) 58 pp 23 col. ill. 9 x 6 in softcover 978-1-894699-40-2 $20.00 ($22.95 U.S. / 16 euros)
Tanya Harnett: Persona grata
David Garneau
Tanya Harnett’s new series of photographic works explore the many and diverse layers of her being through self-portraiture. Harnett reflects on her First Nations heritage and how it has been culturally defined and redefined through the parameters of a westernized education. The complexity of this history is subtly but relentlessly pursued through the lens of the camera.
Southern Alberta Art Gallery (06/2008) 58 pp 19 col. ill. 9 x 6 in softcover 978-1-894699-41-9 $20.00 ($22.95 U.S. / 16 euros)
Susan Bozic: The Dating Portfolio
Gordon Hatt & Bill Jeffries
Susan Bozic's work recalls the performance-based photography of Cindy Sherman and Jeff Wall while taking as its subject the social construction of romance. Bozic's character's dates a male mannequin and, through her photographs, we follow the couple from courtship and meeting the family to intimacy. Bozic reflects on consumer society's pursuit of happiness and the good life while referencing the internet dating phenomenon by staging dates with someone a little bit "different." Her project merges the optimism of movie-star promotional photographs with questions about both the tradition of courtship and its current state. Two essays elucidate her practice.
Southern Alberta Art Gallery (01/2008) 64 pp 22 col. ill. 10 x 8 in softcover 978-1-894699-39-6 $20.00
Don Gill: D'Arcy Island
Lorna Brown
Social history is inextricably tied to natural history and Don Gill's investigations have produced a convergence of the two, often evolving into case studies which the artist documents through photography, text, video and installation. D'Arcy Island, which is just off Vancouver Island, was home to a leper colony from 1894 to 1924. Forty-nine Chinese men were exiled to the island after contracting leprosy and were left to fend for themselves. Gill's work maps this historical landscape through film and photography.
Southern Alberta Art Gallery (02/2008) 48 pp 17 col. ill. 9 x 6 in softcover 978-1-894699-37-2 $15.00
Dagmar Dahle: Lost Bird Collecting
Carol Williams
Dahle's interests are intricately bound to one institutional ethos, that of the museum. Her research has focused on historical and contemporary representations of animals, decorative art and craft practices that intersect with fine art, and the role of the museum in the construction of knowledge. Her collection emphasizes abandoned hobby craft projects such as naïve paintings, knitted animals and paint-by-numbers. It also includes natural objects such as bark, bird's nests, antlers, bones and so on. These objects are altered in various ways, transforming them into things of peculiar and ambiguous beauty.
Southern Alberta Art Gallery (02/2008) 48 pp 31 col. ill. 9 x 6 in softcover 978-1-894699-38-9 $15.00
Cheryl Sourkes: Public Camera / Caméra publique
Cheryl Simon
For several years, Cheryl Sourkes has been distilling images from web cams and live video streams that she has found on the internet. Selecting and editing from thousands of images has led her to organize her work into series. Locations are images from specific places. Interference focuses on images compromised by the weather or other natural phenomena. Interior features web cam images from public spaces. By placing surveillance images in a fine art context, the artist moves beyond the distanced instrumentality implicit in the originating technology, creating new meaning through the selection and classification of images. In English and French.
Au cours des dernières années, Cheryl Sourkes a exploré les dispositifs de surveillance publique, particulièrement les caméras Web. Elle a créé plusieurs projets autour de ce thème, empruntant des images fixes à des sites Internet. Elle réalise des montages composites de photos de grandes villes comme Londres, Tokyo et Toronto. Dans d'autres œuvres, elle montre comment des influences extérieures, tels les phénomènes météorologiques, peuvent altérer l'œil de la caméra. L'espace publique et privée, qu'elle étudie de l'intérieur, l'intéresse également. Bien que ces images aient été créées à l'aide de matériel technologique récent, l'artiste les inscrit dans l'histoire plus vaste de la fabrication d'image, composée à la fois de sources contemporaines et historiques. Sourkes nous invite à réfléchir à la façon dont cette technologie affecte notre compréhension de la société et notre relation avec ceux qui y vivent.
Canadian Museum of Contemporary Photography /Southern Alberta Art Gallery / Tom Thomson Art Gallery (05/2007)
80 pp 53 col. ill. 10.5 x 8.5 in softcover 978-0-929021-49-2 $24.95 Can./U.S. (20 euros)
Julie Voyce: Paste Up
Stuart Reid & RM Vaughan
This publication documents 32 abstract screen prints produced using the same three colours. Pre-computer paste-up, drawing and re-photocopied photo copies make the final images seem to be composed of many more than three colours.
Southern Alberta Art Gallery / Tom Thomson Art Gallery (05/2007) 32 pp col. ill. 8 x 6 in 978-1-929001-48-2 $20.00 Can./U.S. (16 euros)
Lyn Carter: Incognito
Carolyn Bell & Sarat Maharaj
Using her strong background in textiles, Carter produces wall-mounted sculptures made from patterned cloth and everyday objects. The fabrics reference art history and reflect textile traditions from a variety of world cultures. Interwoven with objects such as plates and platters, her works heighten the antagonism between traditional women's work and male-dominated industrial production.
Southern Alberta Art Gallery / Tom Thomson Art Gallery (02/2007) 60 pp 28 col. ill. 8 x 8 in softcover
978-1-894699-35-8 $20.00 Can./U.S. (16 euros)
Rhonda Weppler & Trevor Mahovsky
Ken Lum
The Vancouver-based artists produce representations or alternations of everyday objects. Many works are cast directly from the object itself in a material approximating that object's general physical character. The resulting works conflate sculptural concerns such as process, materiality and literalism with the subjective and narrative content inherent in representation. Ken Lum, author of the accompanying essay, is one of Canada's leading artists. Co-published with the Liane and Danny Taran Gallery, Rodman Hall Arts Centre, Doris McCarthy Gallery and Cambridge Galleries. In English and French.
Southern Alberta Art Gallery (11/2006) 64 pp 58 col. ill. 8.5 x 7.5 in softcover 978-1-894699-36-5 $20.00 Can./U.S. (16 euros)
Robbin Deyo: Sweet Sensation
Mark Nullin & Jeanne Randolphe
Deyo's labour-intensive work includes wax-covered objects that give the appearance of candy, cakes and other confectionery delights. Hundreds of cookie cutter shapes adorn gallery walls and tempt patrons with their alluring colours and sugary appeal. Her work, subtly sculptural and architectural, hints at themes of gender roles and hyper-consumerism. An exploratory essay by Mullin is accompanied by poetic musings by Randolphe. In English and French.
Southern Alberta Art Gallery (09/2006) 56 pp 22 col. ill. 10 x 8 in softcover 1-894699-31-9 $20.00 Can./U.S. (16 euros)
Gunilla Josephson: Resistance
Andrea Carson, Lewsis DeSoto, Catherine Elwes & Benny Nemerovsky Ramsay
Josephson's feature-length video work, The Blood-Red Heart of Johanna Darke, tells a tale of a woman who could have lived but perhaps never did. It is the 1940s. Fleeing her beginnings as a religious novice, Johanna Darke finds herself in Paris working with the Resistance against the Nazi occupiers. The political necessity of isolation creates a loneliness in Joanna that causes her to oscillate between fantasy and reality. Essays and an artist's statement provide a comprehensive perspective on the work of the Swedish-born Canadian artist. Sumptuously illustrated with several full-page and double-page colour stills. The film was premiered at The Canadian Cultural Centre in Paris.
Southern Alberta Art Gallery (08/2006) 120 pp 80 col. ill. 9 x 6 in softcover 1-894699-34-3 $20.00 Can./U.S. (16 euros)
Lisa Klapstock: Liminal
Alison Nordström & Scott McLeod
Lisa Klapstock's photographic practice challenges visual perception of everyday urban environments. This splendid first monograph, illustrated with dozens of colour plates, presents several series produced from the late 1990s to today. Living Room documents the hidden life of urban back lanes. Threshold - scenes shot through holes in backyard fences - reveals views that are invisible to the naked eye. Ambiguous Landscapes juxtaposes stark landscapes with and without the human figure (Klapstock herself). While the work is highly formalized and richly textured, Klapstock's overriding concern is the gray area between private and public and how, as both artist and woman, one inhabites that space. In English and French. Lisa Klapstock has exhibited at George Eastman House, Presentation House Gallery and the Art Gallery of Ontario. Alison Nordström is Curator of Photography at George Eastman House. Scott McLeod is editor and publisher of Prefix magazine.
La pratique photographique de Lisa Klapstock défie la perception visuelle de l'environnement urbain quotidien. Cette première monographie nous présente plusieurs séries produites durant les années 1990 jusqu'à aujourd'hui. La série Living Room documente la vie cachée des ruelles urbaines. Quant à Threshold - des photographies prises à travers des trous dans des clôtures -, l'artiste nous dévoile des scènes cachées à l'oeil nu. La série Ambiguous Landscapes juxtapose des paysages avec ou sans une figure humaine (Klapstock elle-même). Quoique l'œuvre soit formelle et riche en textures, la préoccupation principale de l'artiste demeure la zone grise entre le privé et le public et, en tant que femme et artiste, comment habiter cet espace. En français et anglais.
Southern Alberta Art Gallery / Tom Thomson Memorial Art Gallery (2006) 96 pp 57 col. ill. 1-894699-33-5 hardcover $39.95 Can./U.S. (32 euros)
Ed Pien: In a Realm of Others
Gordon Hatt, Tila Kellman & Linda Jansma
Ed Pien's integration of drawing into an installation format has created a new vocabulary for this elemental medium. His exuberant drawing style with images drawn from both Chinese and European sources has given new life to a traditionally formal endeavor. Here he explores the world of ghosts with drawings, dramatic lighting, projections, soundscapes and the videotaped telling of actual encounters. While Pien's work calls up any number of mythic, ritualistic and actual journeys and while his images evoke violence, suffering and deprivation, the visitor walks away from the multi-sensorial experience feeling uplifted and elated. Ed Pien has exhibited widely, notably at The Drawing Center (New York), Overslag and Eindhoven (Amsterdam), The Canadian Cultural Centre (Paris) and the Middlesbrough Art Gallery (England). Co-published with Cambridge Galleries.
Southern Alberta Art Gallery / Robert McLaughlin Gallery (2006) 96 pp 30 col. ill. 9 x 6 in softcover 1-894699-32-7 $20.00 Can./U.S. (16 euros)
Michelle Bellemare: Blind Side
Carolyn Bell Farrell
Michelle Bellemare explores the manner in which associatively rich material like hair and dust gives voice to the inexpressible. She creates seemingly functional objects from familiar material (socks knitted from dust) so as to provoke the body's inherent reflexes. In 2005 Bellemare was invited to exhibit at ARCO, International Contemporary Art Fair in Madrid. Copublished with the Koffler Gallery.
Southern Alberta Art Gallery (12/2005) 32 pp col. ill. 8 x 6 in softcover 1-894699-27-0 $15.00 Can./U.S. (11 euros)
Faye HeavyShield: Blood
Paul Chaat Smith
Faye HeavyShield was born on Alberta's Stand Off Reserve and is a member of the Blood nation. Her minimalist installations are powerful fusions of her Christian and Native backgrounds. After a lengthy hiatus HeavyShield presents a powerful new work, Blood, an evocation of the personal, political and historical realities of the First Nations' experience. Paul Chaat Smith is associate curator at the Smithsonian's National Museum of the American Indian and author of Like a Hurricane: The Indian Movement from Alcatraz to Wounded Knee (New Press). His essay intertwines thoughts on the work of Faye HeavyShield and on the opening of National Museum of the American Indian in Washington DC.
Southern Alberta Art Gallery (10/2005) 48 pp 14 ill. (6 col.) 9 x 6 in softcover 1-894699-30-0 $15.00 Can./U.S. (11 euros)
Wendy Welch: Taxonomy
Jan Gates
Welch collects and sorts everyday materials, transforming the mundane through structure and order into site specific works that defy categorization. Gates places Welch squarely within the traditional practice of taxonomy as practiced by natural historians throughout the centuries. Since much of the work involves stitching, pinning and threading, she also draws out the affinities between Welch's installations and traditional women's domestic labour.
Southern Alberta Art Gallery (10/2005) 64 pp 25 col. ill. 9.5 x 6.5 in softcover 1-894699-29-7 $20.00 Can./U.S. (16 euros)
Susan Turcot: Beingrich
Susan Turcot
wTurcot collaborated with musician Roger Turner to perform drawing on an amplified drawing board as a duet for paper and pencil. "I began explorations with paper and pencil which led to a focus on sound and a concentration on listening and responding to the drawing pencil. This is a process which creates dialogue between materialized and immaterialised process. The drawing is done with the eyes closed, which exaggerates the sensation of sound and obscures the sense of physical orientation of the body and of its surroundings."
Southern Alberta Art Gallery (2005) pamphlet 12 ill with Audio CD 5.5x7.5 (metal container) 1-894699-28-9 $20.00 Can./U.S. (16 euros)
Angela Leach: Paintings
Gordon Hatt & Emily Falvey
Having been introduced to the discipline of painting and to textile design, Leach found her way to a marriage of the two. The result is series of paintings called Abstract Repeat. By sequencing colour in random order these works offer vibrating fields of pattern that transform the picture plane through the resulting illusionary effect. Angela Leach studied painting at the Ontario College of Art and Design and crafts at Sheridan College. Publication of an exhibition traveling across the country throughout 2005-2006.
Southern Alberta Art Gallery (2005) 48 pp 15 col. ill 8.5 x 9.5 in softcover 1-894699-26-2 $20.00 Can./U.S. (16 euros)
Tania Kitchell: Cold Cuts
Rosemary Heather & Eileen Sommerman
Building on a documentary foundation, Kitchell produces photographs of herself playing in the snow. She also makes a vast array of winter clothing, including Joseph Beuys-inspired felt snow suits. While impractical, these items draw our attention to our interactions with the environment.
Southern Alberta Art Gallery (2004) 132 pp col. ill. 8.5 x 6 in softcover 1-894699-14-9 $20.00 (16 euros)
Bettina Hoffmann: Spoilsport
Adrienne Lai
Hoffmann's photographic practice presents an investigation of conflict, non-verbal communication and the unspoken. With cinematographic undertones, she constructs banal everyday scenes, creating complex situations of people in an atmosphere of feigned indifference, desperate seduction and veiled humiliation. Spoilsport refers to the game of life, love and power and its willful disruption. Originally from Berlin, Hoffmann lives and works in Montreal. Produced in collaboration with the Liane and Danny Taran Gallery. In English and French.
Southern Alberta Art Gallery (2004) 56 pp 34 col. ill. 10 x 7.5 in softcover 1-894699-25-4 $20.00 Can./U.S. (16 euros)
Michael Campbell: 12,000 Years Collapsing into Eight Seconds
David Garneau
Michael Campbell describes his most recent video installation, created expressly for the Southern Alberta Art Gallery, as expanding on previous production with the construction of a large cinematic set that implies multiple fictive narratives. These overlap and converge to form a coherent experiential tableaux that links reality with filmic memory and transcendental fantasies.
Southern Alberta Art Gallery (2004) 54 pp col. ill. 8.5 x 8.5 in softcover 1-894699-17-3 $20.00 Can./U.S. (16 euros)
Monica Tap: Paintings
Nancy Tousley & Stuart Reid
Tap's large-scale canvases set up compelling dualities: historical/contemporary, abstract/representational and original/referential. While not a landscape painter, her work concerns itself with the history and convention of landscape painting. She manipulates the lines of her own drawings as well as those of other artists &endash; often seventeenth-century Dutch and Flemish artists - until she creates an abstract composting of history. Two essays examine the language of painting in the microscopic detail of Tap's own work.
Southern Alberta Art Gallery / Tom Thomson Memorial Art Gallery (2004) 52 pp 20 col. ill. 9 x 7 in softcover 0-929021-37-1 $20.00 (16 euros)
Vera Greenwood : High Ground
Sylvie Fortin, Johanna Mizgala & Jeanne Randolph
Greenwood enlists memory and fiction, as well as humour and horror, to immerse viewers in the home and family environment in which she grew up. Acting as the curator of her own personal museum, she meticulously re-stages her childhood home and poignantly evokes her memories of growing up in a family whose fortune were greatly affected by her father's mental illness. Three essays probe, among much else, the artist's anti-authoritarian critique of the family, the church and the museum. Randolph is the author of Why Stoics Box.
Greenwood a recruté mémoire et fiction afin d'immerser le spectateur dans l'environnement familial au sein duquel elle a grandit. S'attribuant le rôle de conservatrice de son propre musée personnel, elle a méticuleusement recréé son enfance et évoqué les mémoires entourant sa famille, dont le bien-être dépendait fortement des troubles mentaux de son père. Trois essais cherchent à éclaircir le positionnement anti-autoritaire de l'artiste face à l'institution familiale ainsi qu'à toute autre institution, même celle du musée.
Southern Alberta Art Gallery/The Ottawa Art Gallery (2003) 97pp. 16 ill. coul. 22 x 14 cm 1-895108-56-x $25.00 (21 euros)
Karilee Fuglem: Cumulous
Laura Millard & Sylvie Parent
Employing modest materials such as plastic bags, tape and fishing line, the work of British Columbia born Montréal artist makes non-visible phenomena seem palpable. Fuglem's site-sensitive installation, Cumulous, emphasizes ways of knowing through sensation and visceral comprehension, rather than intellect alone. This first substantial publication on Fuglem's work contains two original essays and has been designed by the artist.
Utilisant de modestes matériaux tels que des sacs de plastiques, du papier collant et du fil de pêche, l'œuvre de cette artiste montréalaise née en Colombie-Britannique tranforme les phénomènes non-visibles en quelque chose de palpable. Cumulous mets l'emphase sur les manières de connaître à travers la comphéhension viscérale au lieu de ne faire qu'appel à notre intellect. Cette première publication substantielle de l'oeuvre de Fuglem a été conçue par l'artiste et contient deux essais originaux.
Southern Alberta Art Gallery (2003) 32 pp 34 ill (6 col.) 8x9 in softcover 1894699092 $15.00 Can./U.S. (11 euros)
Lines Painted in Early Spring
Patrick Mahon
Referencing the poem by Wordsworth in which he sets forth the classic opposition between nature and culture, Mahon presents four Canadian artists whose engaging and often lyrical work embodies the fusion and collision of nature and culture. These artists show painting as a language capable of addressing ideas concerning space and landscape through painterly means that propose the mutual agency of human culture and the "ground" that surrounds it. Adopting the metaphor of marking lines upon the road, the exhibition proposes a space for painting where inventive ideas about representation cross-pollinate to produce a complex yet continuous expanse. With work by Gerald Ferguson (Halifax), Ben Reeves (Victoria), Carmen Ruschiensky and Francine Savard (Montréal). In English and French.
Southern Alberta Art Gallery (2003) 78 pp 25 col. ill. 9.5x6.5 in softcover 189469922x $20.00 Can./U.S. (14 euros)
Blind Stairs
Emily Falvey & Sophia Isajiw
Janice Gurney, Mary Scott and Arlene Stamp have sustained a critical engagement with painting as practice rather than as medium. This openness has fostered an eclecticism and an improvisational approach to already-circulated material. The authors write with the conviction that there is much to be learned from careers that began 20 years ago, when modernist paradigms in painting were much harder to ignore.
Southern Alberta Art Gallery / Mount Saint Vincent University Art Gallery (2003) 98 pp col. ill. 9.5 x 8 in softcover 1-894699-20-3
$20.00 Can./U.S. (14 euros)
Susan Kealey: Ordinary Marvel
Jennifer Rudder (ed)
Following the premature death by cancer of artist Susan Kealey, 12 of her colleagues have come together to create this monograph as a tribute to her enormous energy and creativity. These engaging and thoughtful essays document Kealey's prolific artistic output and mark her contribution to contemporary Canadian art. The book includes lush, full-colour reprints of Kealey's major photographic series wherein she critically examined the techniques of documentary and commercial photography through the creation of spare photographic studies. Contributors include Jeanne Randolph, Scott McLeod, editor of Prefix photo magazine, and video-artist Steve Reinke.
Southern Alberta Art Gallery (2003) 184 pp 74 ill 9.5 x 9.5 in softcover 0-920397-83-2 $45.00 Can. / $39.95 U.S. (31 euros)
Yoko Takashima
Mowry Baden
Large-format digitalized colour photographs confront the viewer with images of private matters and domestic relationships that have universal relevance. The artist's newly-acquired roles as mother and caregiver are threaded throughout. Other works relate to inter-family relationships and act as a catalyst for her explorations of the emotions associated with parenting: anxiety, vulnerability and obsessiveness. Yoko Takashima was born in Japan and currently lives in Vancouver.
Southern Alberta Art Gallery / Kamloops Art Gallery (2003) 38 pp 12 col. ill. 10x6.5 in hardcover 1-895497-54-X $20.00 Can./U.S. (14 euros).
Anne Ramsden: Anastylosis, Inventory
Jennifer Fisher
Anastylosis is an archeological term describing the reconstruction of an object from its surviving fragments. Ramsden applies the technique to the nearly 300 household dishes which she smashed and reconstructed according to a precise system. The final installation is intended to encourage in the viewer an awareness of the activity of looking.
Southern Alberta Art Gallery (2003) 32 pp col. ill. 9x6.5 in softcover 189469919x $12.00 Can./U.S. (8 euros)
Lethbridge Modern: Aspects of Architectural Modernism in Lethbridge from 1945-1970 (Volume 1)
Gerald Forseth
Arthur Erickson's internationally renowned example of "brutalist modernism", the University of Lethbridge, is a featured example in this review of the surprising number of buildings designed under the influence of Frank Lloyd Wright and Le Corbusier in this relatively small community. Illustrated with photographs and architectural drawings that showcase modern design in educational, religious, commercial, and industrial buildings and modern homes. Forseth's essay is accompanied by an interview with Erickson. Gerald Forseth is a Calgary-based architect and architectural historian. In 2000 he curated the highly regarded architecture exhibition Calgary Modern at the Nickle Arts Museum.
Southern Alberta Art Gallery (2002) 56 pp 68 ill. (9 col.) 8.5x11 in softcover 1894699173 $25.00 (Can./U.S.)
Susan Schuppli: Phony
Tess Takahashi
Phony is an interactive CD-ROM which explores the history and culture of the telephone in order to reflect upon contemporary communications technologies and is an expansion of Schuppi's multi-sited public art project. Media theorist Takahashi further develops the work and ideas through her audio analysis.
Southern Alberta Art Gallery (2003) CD-ROM 1894699165 $10.00 Can./U.S. ( 8 euros)
Colette Whitten and Paul Kipps: Over Taking Over
Terence Heath & Jessica Wyman
Whitten and Kipps are among Canada's most respected sculptors. The fact that they are also married would normally not be discussed even in a joint exhibition, except that here, in spite of the dramatically different nature of their works, there is a profound connection that moves the viewer. Focusing on that connection, the essayists discuss the works as meditations on the passage of time: the generation of their parents, now passing, and of their children, now arriving.
Southern Alberta Art Gallery (2002) 56 pp 24 ill. 7x5 in softcover 1894699130 $12.00 Can./U.S.
Lois Andison: Autobody
Carolyn Bell Farrell
Andison's kinetic sculptures explore the status of the body, particularly the female body, at the juncture of the biological and the technological. An intimate understanding of new media enables her to forge an art practice that is "absolutely right for this moment". Her work strikes a powerful and precarious balance between emotional vulnerability and aesthetic strength, and is at once elegant, politically barbed and extremely funny. Produced with the Koffler Gallery.
Southern Alberta Art Gallery (2002) 32 pp 14 col. ill. 9x6.5 in softcover 0920863639 $15.00 Can./U.S.
Renée Van Halm: Dream Home
Lisa Robertson & Sherry McKay
Van Halm creates sculptures and paints gouaches that breakdown and investigate contemporary domestic architectural obsessions. Her scale models of rooms and her evocative aerial renderings of homes illustrate how leisure, class and social standing are expressed through architecture, demonstrating, for example, that the more expensive the home, the more the design is steeped in nostalgia leaving more modest dwellings to utilize modernist notions of simplicity and utility. Essays by Roberston (author of the ongoing project Office for Soft Architecture) and McKay (professor at the UBC School of Architecture) discuss Van Halm's work as art, architecture, design and popular culture.
Southern Alberta Art Gallery /Kamloops Art Gallery (2002) 44 pp 18 col. ill. 9.5x8 in softcover 0920751857 $15.00 Can./U.S.
Gwen Curry: Witness
Derek M. Besant
Curry's large-scale works document various scientific names of plants and animals encountered on a road trip throughout the United States. Her ongoing work, Void Field - named after a work of the same name by Anish Kapoor - is a floor installation consisting of 100 square tiles made of varnished wood and engraved with the names and dates of species that have become extinct throughout the world.
Southern Alberta Art Gallery (2002) 24 pp 11 ill. 8x8 in 1894699122 $10.00 Can./U.S
Tom Bendsten: Argument
Catherine Osborne
Publication documenting Bendsten's large book structure series entitled Argument. This being the artists' first exhibit west of Toronto, the endeavor required the transportation of thousands of pounds of books across the country. Osborne's essay delineates the significance of the work, especially in an age of instant communication. Born in Coppenhagen, Bendsten lives and works in Toronto.
Southern Alberta Art Gallery (2002) 36 pages 12 ill. (5 col.) 7x5 in. 1894699106 $10.00 Can./U.S.
David Kramer: Heaven on Earth
Joan Stebbins & Christian Viveros-Fauné
Working from the persona of the angst-ridden everyman and hard-luck artist, the New York artist produces witty video installations featuring the cast-off, the unconnected and the adamantly unfashionable. Referred to as the "Jerry Stiller" of the art world, Kramer sardonically pines for the elusive grail of the "good life". But the buffoonery and self-mockery barely disguise a brutal reality: the disseminating effect consumer culture, with its emphasis on gender roles and body stereotypes, has on men. David Kramer has performed at the Whitney Museum and has had exhibitions at the Robert Birch Gallery (Toronto) and the Pierogi Gallery (Brooklyn).
Southern Alberta Art Gallery (2002) 64 pages, 39 ill. 8x6 in. softcover 1894699084 $12.00 Can./U.S.
Baco Ohama: Miyoshi
Hiromi Goto, Arthur Nishimura & Paul Chaat Smith
"When I made the move to British Columbia it was to be closer to Steveston &emdash; this place where my maternal grandparents lived prior to World War II. This is where Ojiichan (my grandfather) fished and built fishing boats. It is here on the West Coast that I have been reconsidering my relationship to water. I have been thinking about how history, even events prior to one's own birth, impacts our lives and affects who we are. Over and over again I have been led to the water's edge to think about the relationships between history, language and location; and what lies in the space between what is articulated by tongue and mind, and that which is felt in the gut."
Southern Alberta Art Gallery (2002) 3 brochures within a cardboard binding, 5 col. ill. 7x7 in. 1894699076 $15.00 Can./U.S.
Harold Klunder: The Lethbridge Paintings
James D. Campbell
Harold Klunder is one of the country's most acclaimed painters and, although non-representational, his works provide an ongoing record of his life. Throughout the winter of1997-98, he lived in Lethbridge, where, inspired by the ever-changing light of the prairie sky, he enjoyed a highly productive period. Of the dozens of oils and watercolours produced during that time, sixteen are presented here. In his essay, Cambell outlines what he calls the "alchemy" of Klunder's oeuvre.
Southern Alberta Art Gallery (2001) 24 pages, 16 ill. 9x9 in. 189469905X $15.00 Can./U.S.
Barbara McGill Balfour: Soft Spots
Kitty Scott
The subject of Balfour's practice is the body, particularly the skin. Highlighting the body's surface, with its marks, moles and freckles, her prints and print installations display the skin's surprising formal designs and suggest concerns with everything from physical beauty to illness and decay.
Southern Alberta Art Gallery (2001) 72 pages, 25 col. ill. 5x4 in. softcover 1894699033 $10.00 Can./U.S.
Sarah Stevenson: Almost Invisible
Michael Tarantino.
Sarah Stevenson's exhibition includes three large-scale sculptures constructed of netting and rods. Although made of everyday materials, these mysterious objects defy categorization and dominate gallery space with a power that contradicts their fragility. In his essay, Tarantino considers the architectural reverberations of her work.
Southern Alberta Art Gallery (2001) 24 pages, 10 ill. (2 col.) 1894699041 $12.00 Can./U.S.
Eric Metcalfe: The Attic Project
Hector Williams & Peter White
The Vancouver artist's long career has been marked by incursions into conceptual art, Fluxus and his own personal conceptual framework known as "Brutopia" whose chief preoccupations are repression and violence. His current project - pots inspired from Greek antiquity - with its lightens of vision and physical beauty, seems a radical departure from a dark and ironic practice. White's essay shows that the projection is in fact quite linear. By reproducing the original shapes of ancient Athenian pottery, painting them with designs that work on both literal and metaphorical levels and placing them in institutional spaces, Metcalfe manages to succinctly comment on the role of the museum and its historical manipulation of art. The results, visually stunning yet not without suggestions of parody and pastiche, project a wide range of attitudes. The name of the exhibition itself, which references both antique Greek culture and contemporary antique roadshows, signals the remove.
Southern Alberta Art Gallery / Kamloops Art Gallery (2001) 64 pages 38 col. ill. 9x6 in. hardcover 1894699025 $20.00 Can./U.S.
Catherine Ross: Stella Mere
Robin Peck
Essayist Peck places Ross's sculptural work within two traditions: the French "Animalier" school and, because Ross' work is scaled to the domestic interior, traditional female craftmaking. Her birds are carved in stone and marble, her starfish cast in aluminum, her snakes in wood sheathed with lead. Studying Ross's immense and almost repetitive production, Peck expands the discussion to reflect on the new role played by women sculptors in a discipline generally dominated by men. Noting that women's sculpture is now re-explorative of many nearly-abandoned technical and formal conventions, including stone carving and metal casting, the essayist posits that women come to sculpture relatively free from the prejudices that have formed it over the past century and now pursue the three dimensional and the material in art with a vengeance wrought by an historically denied access.
Southern Alberta Art Gallery (2000) 26 col. ill. 9x6 in. 0921613970 softcover $15.00 Can./U.S
Patrick Mahon: Palindrome
Anne Brydon & Robin Metcalfe
Mahon's installations explore the relation between structure and surface through the medium of wallpaper that he designs and has fabricated himself. Deliberately referencing William Morris and Le Coubusier, Mahon suggests several modernist aesthetic traditions. Interestingly, given that the artist is a heterosexual male, the essayists look at his work in the light of feminist analysis and homosexual aesthetics. Bryden discusses the artist's treatment of domestic space as a comment on traditional sex roles while Metcalfe considers the work as a critique of the heroic masculinism of Modernist aesthetics.
Southern Alberta Art Gallery (2000) 48 pp. 27 ill. (20 col.) 10x8 in. 1894699009 softcover $15.00 Can./U.S
Hamish Fulton: Magpie: Two River Walks
Robert Stacey
Refuting the labels of land artist, conceptual artist, environmental artist and conceptual sculptor, Fulton calls himself simply a walking artist. Since his first thousand mile walk in 1973, the British artist has made art exclusively that results from specific walks. This publication features Fulton's journey through the Milk River and Red Deer River areas of Alberta. The pieces displayed are not, according to the artist, the art but only fragments of the art, but the "fragments" are memorable. Magnificent full colour photographic landscapes, prints with text, wall sculptures and stenciled calligraphy, all in relation to what he saw and experienced. Stacey's essay considers Fulton's 30 year career with references ranging from Wordsworth to Goldsworthy.
Southern Alberta Art Gallery (2000) 80 pp. 33 col. ill. 6x8 in. 0921613997 softcover $25.00 Can./U.S.
David Hoffos: The Lethbridge Illusionist and His Cinema of Attractions
Nancy Tousley
Through the use of centuries-old optical techniques, film, video, composite projections, time-lapse photography and live closed-circuit video the artist creates what he refers to as illusions and which others may call installations. But while the devises may be drawn from the days of Méliès and the Lumière brothers, the concerns and references are straight from Hitchcock, Wells, Lang and Spielberg. Tousley's essay provides a close reading of Hoffos' non-narrative, time-based art, situating the artist now with Truffaut, then with Ed Wood and showing that while his interest in film is great, his interest in fantasy is greater.
Southern Alberta Art Gallery (2000) 26 col. ill. 8x5 in. 0921613938 softcover $25.00 Can./U.S
Lyndal Osborne: The Poetic Structure of the World
David Garneau
Australian-born Lyndal Osborne is a collector, a weaver and a maker of shapes. Seeds, pits, flowers, leaves, thistles, fungus and vegetables are gathered and woven into sculptures and installations, both strange and familiar. In his essay, Garneau cites cultural theorist bell hooks who explains that the experience of art must create a feeling of being "moved, touched, taken to another place, momentarily born again." This is what Osborne does. The delicacy of the work is reflected in a superb publication marked by colour fold-outs and reflections by the artist.
Southern Alberta Art Gallery (2000) 41 p., 6 col. ill., 8.5x5.5 in., 0921613954 $10.00 Can./U.S
Renate Buser: Objects in Mirror May Be Closer Than They Appear
Roman Kurzmeyer & Robert Ireland
Buser's photographs assume the real and fragile position of the photographer, becoming the amplified link between the human body - with its imperfections - and a perfected optical technology. Her decontextualized photographs of Montreal's architecture (office towers, apartment buildings) are in a way the antithesis of architectural photography in that they emphasize remoteness and lack of gravity. Essays in English, German and French.
Southern Alberta Art Gallery (2000) 44 p., 10 col. ill., 9x6 in. 0921613962 $15.00 (pb) Can./U.S
Yasufumi Takahashi: Injurious Inertia
Patrick Mahon
Takahashi's installations ask us to speculate about objects that resonate with familiarity even though they trouble us in our attempts to locate them in our own experience. This particular project is marked by an impulse to use a vernacular anthropology when viewing objects both strange and familiar to our eyes. Text in English and Japanese.
Southern Alberta Art Gallery (2000) 32 p., 8 col. ill., 9x6 in. 092161392x $12.00 (pb)
Jennifer Gordon: The Sky is Falling
Amy Gogarty
Gordon's works, thinly painted, identically-scaled, and bi-polar in their levels of eccentricity, show the combination of map and terrain, as well as giving an idea of where next to head in contemporary painting. She presents a rhythmic current from one to the next, dwelling on aspects of her life including what she derives from parenthood.
Southern Alberta Art Gallery (1999) 40 p., 22 ill. (8 col.) 11x8.5 in. (28x21 cm) 0921613946 $16.00 (pb)
Euan Macdonald
Hans Ulrich Obrist, Bill Arning, Christina Ritchie & Gregory Salzman
While Macdonald's art is postmodern in its complexity and media cross-referencing (paintings and drawings integrated into video exhibitions) it is also simplistic and immediate with a limited number of distinct sets of imagery. His apparently casual observations of cities both real and unplanned reveal a quiet introspection that is in itself an indictment of a culture hooked on speed. Born in Scotland, Euan Macdonald moved to Canada in 1976. He has exhibited throughout Canada, the United States, the United Kingdom and Japan.
Southern Alberta Art Gallery (1999) 64 p., 31 ill. (18 col.) 21x16 cm / 8x6 in., 0921613911 $15.00 (pb)
Jeannie Thib: Geographia
Gary Michael Dault & Marnie Fleming
For more than a decade, Thib has graphed the social construction of the female identity, her fragmented maps, patterns and designs making up a singularly cohesive body of work. Her provocative installations of handkerchiefs and gloves, while disarmingly "pretty", are edgy and biting, undercutting the good-breeding and self-absorption these items suggest. Altering materials from diverse historical sources, Thib incorporates new compositions to reference the body.
Southern Alberta Art Gallery (1999) 39 p., 10 ill., 19x15 cm./ 7.5x6 in., 0921613903 $10.00 (pb)
Gwen MacGregor: Fold It Up and Put It Away: Fernie's Curse
Andrew Forster
A specific historical event, the story of a tribal curse on the artist's hometown, is revived in an anecdotal rather than archeological way. Through myth, printed records, film and oral history, McGregor reveals the story of the creation of the curse by members of the Tobacco Plains band and its ultimate ceremonial lifting in 1964. Personal memory is woven into the social and political aspects of the event.
Southern Alberta Art Gallery (1999) 82 p., 45 ill. (28 col.) 8.5x5 in./ 21x14 cm., 0921613881 $12.00 (pb)
Susan Shantz: Satiate
Lucy R. Lippard & Renee Baert
Lippard speculates on the ramifications of Shantz's transformation of everyday artifacts into uncanny sculptural shapes. Concerns with traditional woman's work and the menstrual cycle connect with the archeological and even spiritual aspects of the finished objects.
Southern Alberta Art Gallery (1999) 23 p., 13 ill. (10 col.) 9x8 in / 23x20 cm, 092161389x $10.00
Nature Redux
Nancy Toulsey & David Garneau
Catalogue accompanying an outdoor sculpture exhibition featuring works by Carl Granzow,Bart Habermiller, Susan Shantz, Laurie Walker and Tim Watkins.
Southern Alberta Art Gallery. (1998) 67 p.,ill., 10x7.5 in / 25x19.5 cm, 0921613822 $10.00
Sandra Rechico: Gulp
Stuart Reid & Joan Stebbins
Trained in printmaking but shunning its classic tools, Rechico creates monumental installations using the most banal materials thereby producing an oeuvre which is at once engaging and subversive.
Southern Alberta Art Gallery (1999) 45 p., col. ill., 7.5x5.5 in / 19x13 cm, 1895436370 $8.00
Laura Vickerson: Trace
Leslie Dawn
An installation, created especially for the gallery, which addresses the ephemerality of human existence both thematically and through the use of fragile and unstable materials like glass, flower petals, and light. Dawn's essay considers Vicker's current installation individually as well as in relation to her larger body of work.
Southern Alberta Art Gallery. (1998) 23 p., ill., 10x7.5 in / 25x19 cm, 0921613873 $10.00
Regan Morris: Moat
Barbara Fisher
An exhibition catalogue accompanying the Rhodesia-born Canadian's paintings which are described as autobiographical and coded with various personal histories.
Southern Alberta Art Gallery. (1998) 58 p., col. ill., 7x5 in / 17.5x13.5, 0921613865 $10.00
Janet Werner: Lucky
Carol Laing
The essayist speculates on the emergence of a figurative component in Werner's painting, the abstract language of which has always been particularly located in the flatlands of Saskatchewan.
Southern Alberta Art Gallery (1998) 35 p., col. ill., 10.5x7.5 in / 26.5x19.5 cm, 0921613857 $10.00
Angela Inglis : a still life(s) with adjectives
David Wagner
A painter whose primary material is the paper found in phone books and newspapers, reduced and reorganized.
Southern Alberta Art Gallery. (1998) 16 p,. ill., 10x8 in / 25x20 cm, 0921613849 $8.00
Once Upon a Time: Contemporary Tales
Kim Pruesse (et al)
Using the conceit of the fairy tale, three essayists look at the work of Michelle Gay, Gunilla Josephson, and Max Streicher .
Southern Alberta Art Gallery. (1997) 56 p., ill., 10x8 in / 25x20 cm, 0921613814 $10.00
Greg Payce : Vase to Vase
David Garneau
The essayist demonstrates how Payce's work retains the integrity of ceramics while forging a postmodern quality.
Southern Alberta Art Gallery. (1995) 20 p., ill., 10x9 in / 26x23 cm, 092161375X $8.00
Patrick Traer
Joan Borsa
Issues of death, love and absence emerge from the artist's luminous installation.
Southern Alberta Art Gallery. (1995) 19 p., ill., 11.5x9 in / 29x23 cm, 0921613679 $8.00
Dominique Blain
Jessica Bradley
The author examines the artist's critique of the legitimization of otherness through scientific discourse and photography.
Southern Alberta Art Gallery. (1994) 48 p., ill., 8x5.5 in / 20x13 cm, 0921613555 $10.00
Lisa Couwenbergh .
Ranti Tjan.
Southern Alberta Art Gallery. (1994) 12 p., ill., 7x9 in / 17x23 cm. $6.00
Eric Cameron: Squareness.
Southern Alberta Art Gallery. (1994) 55 p., ill., 7x7 in / 18x18 cm, 0921613431 $8.00
Marlene Creates: Language and Land Use, Alberta 1993
Six photo-assemblages and an artist's statement.
Southern Alberta Art Gallery. (1994) 20 p., ill., 8x8 in / 21x21 cm, 0921621361 $4.00
Jon Baturin: Evidence of Justice
John Calcutt
An examination of the installation work and an interview with the artist
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Southern Alberta Art Gallery. (1994) 32 p., ill., 11x9 in / 28x22 cm, 0921613598 $10.00
Panya Clark Espinal: Like Ancient Pots Spilled from a Drowned Ship
Barbara Fischer
Detailed critique of the installation artist's increased preoccupation with the sensual.
Southern Alberta Art Gallery. (1994) 20 p., ill., 12x7.5 in / 30x19 cm, 0921613652 $8.00
Trevor Gould: Looking Awry.
Emily D. Hicks
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Southern Alberta Art Gallery. (1993) 8 p., ill., 12x9 in / 31x23 cm, 0921613504 $4.00
Spring Hurlbut: Sacrifical Ornament.
George Hersey (et al).
Southern Alberta Art Gallery. (1992) 20 p., ill., 10x9 in / 25x33 cm, 0921613342 $25.00
Micah Lexier.
Renee Baert.
Southern Alberta Art Gallery. (1991) 64 p., ill. 7x7 in / 18x18 cm, 0921613245 $6.00
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