Art
Gallery of Hamilton
Art
Gallery of Hamilton
Great New Wave: Contemporary Art from Japan
Sara Knelman and Lisa BaldisseraAfter its economic collapse in the 1990s, Japan’s Superflat movement, epitomized by the work of Takashi Murikami and Yoshimoto Nara, catapulted these and like-minded artists onto the contemporary art world stage. Today, an exciting new wave of work follows in their wake, defined by a new generation of Japanese artists. Their diverse works reflect an acute consciousness of cultural tradition, while simultaneously proposing visions of a globalized future. Among the artists featured are Manabu Ikeda, Yoshiaki Kaihatsu and Sayaka Akiyama. They work in a wide range of medium: drawing, installation, photography, sculpture, textiles, video and site-specific projects.
Art Gallery of Hamilton / Art Gallery of Greater Victoria (07/2008)
88 pp col. ill. 11 x 9 in softcover 978-0-88885-353-0 $20.00 $24.95 U.S. (16 euros)
In the Shadow of the Midnight Sun: Inuit and Sami Art 2000-2005
Jean Blodgett & Irene Snarby
This publication offers the first in-depth comparative analysis of contemporary artforms of two distinct cultures: the Inuit people of the Canadian North and the Sami people of northern Scandinavia. While both peoples are indigenous, they are far apart geographically and historically. Like the Inuit people, the Sami function as a single culture across national boundaries. Unlike the Inuit people, the Sami have long had regular contact with European civilization. But both have long histories of making specially crafted objects for functional and religious use and, in their contemporary artistic manifestations, both show varying degrees of connection with earlier times as well as clear indications of change. Two of the world's foremost experts on indigenous art break through cultural stereotypes to reveal two Northern peoples who create contemporary art of international quality. Jean Blodgett is one of Canada's most respected Inuit art curators. Irene Snarby is curator at Sami Museum, Karasjok, Norway.
Art Gallery of Hamilton (05/2007) 66 pp 70 ill. (35 col.) 9 x 9 in softcover
978- 0-919153-86-8 $40.00 Can./U.S. (30 euros)
Sublime Embrace: Experiencing Consciousness in Contemporary Art
Shirley Madill
Consciousness has long been a subject of Western art, shifting artists' goals from direct representation of seen reality to the expression of felt experience. This publication documents a unique exhibition where artists of international renown explore consciousness with an astonishing variety of works. Through video, photography, performance and installation they work to engender visceral responses ranging from wonder and seduction to anxiety and fear. The artists include Janet Cardiff & George Bures Miller (Canada), Miroslaw Balka (Poland), Tania Bruguera (Cuba/USA), Anish Kapoor (United Kingdom), Annika Larsson (Sweden), Katarina Matiasek (Austria), Ernesto Neto (Brazil) and Bill Viola (USA). An introductory essay is supplemented by individual essays on each of the fifteen works. Due to its oversized presentation and multitude of full page colour plates, this striking publication admirably conveys the experience.
Art Gallery of Hamilton (02/2007) 80 pp 44 col. ill. 10 x 10 in softcover
978-0-919153-88-2 $35.00 Can./U.S. (28 euros)
C. Wells: White Roma/White Peelee
Shirley Madill et al
Through the exclusive use of line marker paint, C. Wells has developed a painting practice akin in spirit to that of a topographer. Through conceptually positioning the relationship between Rome and Point Pelee Ontario, he reveals how the line marker becomes an allegorical emblem of urbanization.
Art Gallery of Hamilton (04/2006) 21 pp 10 ill. 6.5 x 9 in 0-919153-85-2 $12.00 Can/U.S. (10 euros)
Sara Angelucci: Somewhere In Between
Ivan Jurakic & Shirley Madill
Sara Angelucci's photographs and videos explore the reaches of memory using both archival and new images. Drawing on her family history, her work explores shifting identities and a suspended state between an immigrant past and a complex current history.
Art Gallery of Hamilton / Cambridge Galleries (04/2006) 28 pp 10 col. ill. 6 x 6 in 1-897001-17-7 $5.00 Can./U.S. (4 euros)
Lasting Impressions: Celebrated Works from the Art Gallery of Hamilton /
Images inoubliables : OEuvres célèbres de l'Art Gallery of Hamilton
Edited by Judith Terry
Published on the occasion of the opening of the redesigned gallery, Lasting Impressions offers one of the country's very best holdings of historical art &endash; from William Blair Bruce's Phantom of the Snow (1888) to Alex Colville's Horse and Train (1954). Three major essays examine the issues of collection building, Canadian modernism and the concept of the icon in Canadian art. A fourth essay outlines the conservation of Alex Colville's Horse and Train, undertaken by the Canadian Conservation Institute. Thirty-one contributors offer insight into selected works. Each extended entry highlights a single work and appears alongside a full-page colour reproduction. Contributors include Lisa Christensen (Whyte Museum), Ann Davis (The Nickle Arts Museum), Arlene Gehmacher (Royal Ontario Museum), Anna Hudson (Art Gallery of Ontario), Laurier Lacroix (Université du Québec à Montréal) and Ian Thom (Vancouver Art Gallery). A scholarly, profusely illustrated volume that belongs in every collection. In English and French.
Publié à l'occasion de la ré-ouverture de la Galerie, Images inoubliables nous présente une des meilleures collections canadiennes de l'art historique du 19e et du 20e siècles. Trois essais examinent les questions tournant autour de comment bâtir une collection, le modernisme canadien et le concept de l'icône dans l'art canadien. Un quatrième essai résume le travail de conservation d'une œuvre d'Alex Colville. Une trentaine de collaborateurs discutent et explorent les travaux présentés. Parmi les participants : François-Marc Gagnon (Université Concordia), Michèle Grandbois (Musée national des beaux-arts du Québec) et Esther Trépanier (Université du Québec à Montréal). En français et anglais.
Art Gallery of Hamilton (2005) 320 pp 198 ill (111 col) 12x10 in softcover 0-919153-84-4 $69.00 Can./U.S. (55 euros)
Heaven and Earth Unveiled: European Treasures from the Tanenbaum Collection /
Ciel et terre dévoilés : Trésors européens de la collection Tanenbaum
Louise d'Argencourt, Alison McQueen & Patrick Shaw Cable
Publication documenting the first public viewing of the Tanenbaum collection, a large and singular collection of 19th century European paintings and sculptures donated to the Gallery in 2002. Original scholarly essays study and interpret key issues within 19th century European art. They include a lengthy essay on painting; an essay on sculpture and its unique development in the nineteenth century; and an essay on the history, character and context of the Tanenbaum collection. D'Argencourt's principal essay on painting is divided into several chapters treating the themes of romanticism, exoticism, official training and institutions, inspiration from previous traditions, portraiture, still life and landscape. Each chapter contains extended commentaries on those works that shed particular light on 19th century issues. Accompanied by a complete catalogue listing with reproductions of all the Tanenbaum works, an important foundational tool for future access and investigation. Louise d'Argencourt is an idependent curator working in Paris. Alison McQueen is professor of Art History at McMaster University. Patrick Shaw Cable is Curator of European Art at the Art Gallery of Hamilton. In English and French.
Publication qui documente la première présentation publique de la collection Tanenbaum, une collection d'envergure et singulière de peintures et sculptures européennes du 19e siècle remise à la galerie en 2002. Des essais originaux étudient et interprètent des questions incontournables de l'art européen du 19e siècle. Parmi ces essais : un sur la peinture, un sur la sculpture et son développement unique durant le 19e siècle et un sur l'histoire, le caractère et le contexte de la collection Tanenbaum. Comprend un catalogue complet et des reproductions de toutes les oeuvres de la collection Tanenbaum. En français et anglais. Louise d'Argencourt est conservatrice indépendante travaillant à Paris. Alison McQueen est professeure d'histoire de l'art à l'université McMaster et Patrick Shaw Cable est commissaire de l'art européen à la galerie d'art d'Hamilton. En français et anglais.
Art Gallery of Hamilton (2005) 324 pp 189 ill (140 col) 12x10 in softcover 0-919153-83-6 $69.00 Can./U.S. (55 euros)
Susan Schuppli: Pick Up!
Craig Buckley & Tess L. Takahashi
Pick up! is Schuppli's latest inquiry into electronic communication, in particular the telephone and its natural adjunct the answering machine. Her interactive installation is based on two propositions: that the telephone has been ignored in discussions around information technology and that new media continues to rely on older cultural forms for communication. Two essays explore the public and archival nature of her work. Accompanied by an audio CD.
Art Gallery of Hamilton (2004) 32 pp col. ill. 9 x 6 in softcover 0-919153-82-8 $11.00 Can./U.S. (9 euros)
David Rokeby
Shirley Madill, Dot Tuer & Karen Henry
Publication accompanying Rokeby's new media presentation at the 26th Sao Paulo Bienal in the Fall of 2004. Entitled Gathering, his new media installation uses cameras, computers and projectors to capture, transfigure and transmit images of human activity in the Sao Paulo Bienal building itself. Rokeby's project was selected to represent Canada at the prestigious international event. Co-published with Presentation House Gallery.
Art Gallery of Hamilton (2004) 56 pp col. ill. 8.5 x 6.5 softcover 0-919153-81-x $15.00 Can./U.S. (12 euros)
Mask and Metamorphosis
Shirley Madill, Mary Ann Caws & Kati Campbell
The resurgence of Surrealist tendencies in contemporary art is explored in the work of six women artists. Like the Surrealism of the 1930s and 1940s, their work incorporates Gothic motifs, the bizarre and the disquieting and is motivated by an interest in the unconscious. But unlike their historical predecessors, these artists put their own bodies at stake and question conventional interpretations of gender and sexuality. Three essays explore a Surrealism revitalized by feminism. Artists are Therese Bollinger (Toronto), Janieta Eyre (Toronto), Zoe Leonard (New York), Catherine Heard (Toronto), Sheila Butler (Toronto) and Alice Maher (Dublin).
Art Gallery of Hamilton (2004) 48 pp 28 ill (25 col) 12 x 8 in softcover 0-919153-75-5 $16.00 (13 euros)
Trevor Gould: Posing for the Public / Poser pour le public
Shirley Madill, Sandra Grant Marchand, Johanne Lamoureaux, Gary Michael Dault et al
Trevor Gould is one of the most significant international artists today addressing the complexities of issues surrounding cultural representation. This publication is the result of an enormous multi-venue exhibition bringing together artifacts and archival material from New York's American Museum of Natural History and the artist's own watercolours, installations, and life-size sculptures. Appropriating exhibition techniques such as diorama, taxidermy, theatrical presentation and archival documents, Gould subverts current museum strategies with critical questions about control, access, patronage, representation and populism. Six noted critical theorists explore a wide range of topics notably: the history and function of the art and natural history museum; the activist role of the spectator; the relationship between Western culture, as represented by the United States and Britain, and "the rest of the world", as represented largely by Africa, and much more. Accompanied by an interview with the artist. This superbly produced hardcover edition was produced with the assistance of the Musée d'art contemporain de Montréal.
Trevor Gould est l'un des artistes le plus significatif de nos jours qui adresse les complexités des questions entourant les représentations culturelles. Cette publication est le résultat d'une exposition d'énorme envergure et qui a rassemblé des objets et des archives du musée d'histoire naturelle à New York et des aquarelles, installations et sculptures de l'artiste. Appropriant ses propres techniques d'exposition, telles la diorama, la taxidermie, la représentation théâtrale et des document archivistiques, Gould renverse les stratégies muséales courantes à l'aide de questions critiques quant au contrôle, à l'accès, à la fréquentation et à la représentation. Six théoriciens explorent ces sujets qui incluent : l'histoire et la fonction du musée d'histoire naturelle ; le rôle actif du spectateur ; la relation entre la culture occidentale, telle que représentée par les États-Unis et la Grande-Bretagne, versus "la reste du monde", représenté par l'Afrique ; et plusieurs autres sujets. Le tout est accompagné d'une entrevue avec l'artiste. Publication produite avec la collaboration du Musée d'art contemporain de Montréal.
Art Gallery of Hamilton (2003) 204 pp 72 ill (43 col) 9x7.5 in hardcover 0919153763 $34.00 Can./U.S. (25 euros)
Journey into Ecstasy: The Art and Collection of Tom La Pierre
Shirley Madill, Tobi Bruce, Ted Fullerton & Mary Reid
The private collection of Toronto figurative artist Tom La Pierre is inextricably linked to his own practice as a painter. Developed over decades, the collection is a coherent and substantial holding and includes work by Stanley Spencer, George Grosz and Ivan Albright. Several essays and an interview elucidate recurring themes in both La Pierre's work and in his collection: the body, sexuality, the psychological portrait and the fantastical. Effusively illustrated with numerous colour plates.
Art Gallery of Hamilton (2003) 72 pp 45 ill (38 col) 11x9.5 in softcover 0919153801 $24.95 Can./U.S. (18 euros)
Taras Polataiko
Shirley J. Madill, Mark Cheetham, Ihor Holubizky & Joseph R. Wolin
While embodying fin-de-siecle preoccupation with the supernatural, Polataiko's video installation HIM evokes a quest for a collective identity, especially pertinent to an artist who grew up under the Soviet regime. Also discussed are Polataiko's painting series Cuts which deconstructs and re-presents the radical painting of Lucio Fontana of over 40 years ago. Four essays track the intellectual, visceral work of the Ukranian-born Canadian artist.
Art Gallery of Hamilton (2003) 80 pp 23 ill. (15 col.) 9x6 in softcover 0919153712 $21.95 Can./U.S
Reinhard Reitzenstein: Escarpment Valley Desert
Linda Jansma, Shirley Madill, Derek Knight & John K. Grande
Reitzenstein's artistic practice can only be described as epic. His intense engagement with nature is expressed through the tree which he explores as both abstract symbol and embodiment of consciousness. From this single object he has developed a complex and multidisciplinary practice that incorporates and surpasses traditions of landscape, Land Art, conceptual art and installation. Fusing ideas into work that reflect ecological, social and political concerns, he has produced digital photography with panoramic images over six feet long, video loops, cast bronze sculptures and site installations that incorporate hydroelectric pylons, whole dead trees and limestone boulders.
Several written appreciations including two essays consider three core projects with reference to Andy Goldsworthy and Emily Carr, environmental concerns and Native land claims, with the overriding thrust identified as a physical and spiritual connection with the landscape. Reinhard Reitzenstein's work can be seen in a multitude of public commissions in Canada and abroad. Since 2000 he has been Director of Sculpture at SUNY, Buffalo.
Art Gallery of Hamilton (2002) 88 pp 45 col. ill. 11x9 in softcover 0-919153-73-9 $29.99 (Can./U.S.)
Molinari and Mondrian: The Spirit of Destruction
Joan Murray
This publication focuses on the period 1955 to1961 in Molinari's work as a way of recording and proposing a vision of one artist's relation to another. Presented in fairly strict chronology, the works trace Molinari's stylistic development, formal innovation and changes in emotional tenor during the years that he developed the main theme of his art: the creation of a taut system of forms on the surface of the canvas. With an artist's statement.
Art Gallery of Hamilton (2002) 20 pp 6 col. ill. 8.5x8 in 091915378X $12.00 (Can./U.S.)
Martin Creed
Shirley Madill
Publication accompanying the Canadian exhibit of the 2001 recipient of the presitious and often controversial British Turner Prize. Creed's win is no exception. His winning piece, The lights going on and off, and other works are presented here and commented upon. In her essay Madill raises the critical question: what constitutes the art object? "If installation art like Martin Creed's exists as a relationship between the work and its site or the architectural context, then it challenges the definition of art."
Art Gallery of Hamilton (2002) 4 pp 7 ill. 9.5x11 in. 0919153771 $9.95 (Can./U.S.)
Store: Three Projects by Patrick Mahon
Robin Metcalfe, Tila Kellman & Shirley Madill
Mahon's paintings, banners and "wraps" explore the concepts of exhibition and exchange as they are embodied in a retail outlet - specifically the gallery shop. His gift shop and public art projects dissect the gallery's relationship to everyday life, consider questions about commodity culture, and advance the notion of the artwork as "gift". Developing a graphic design based on Canadian modernist abstract paintings, he has created banners that are installed in various public sites as well as a limited edition of gift-wrap available, of course, only in the shops. Three essays discuss three distinct projects.
Art Gallery of Hamilton / Museum London (2002) 46 pp 15 col. ill. 9x6 in softcover 1895800714 $12.95
Natalka Husar: Blond with Dark Roots
Shirley J. Madill, Ihor Holubizky & Robert Enright
Husar's critique of immigrant culture has been ongoing since the 1970s but the cultural shock of the post-Soviet era has provided grist for the mill, particularly with regard to the relocation/dislocation of girls and women. Far from ridiculing Old World behaviour, Husar's paintings intensify situations already exacerbated by dislocation and suffering. Ranging from a portrait gallery of fictitious post-Soviet immigrant girls to grand narrative tableaux, her work challenges accepted ideas of cultural identity. The view would be unrelenting were it not for two mitigating factors: a dark wit, and an attention to texture and fabric deliberately reminiscent of Rembrandt and Vermeer. Husar's unsettling humour and talent shine in a second series of works - Library - where, in painting directly on the covers of romance novels, she cunningly pursues her exploration of the lives of girls and women. With two essays, an interview and numerous colour plates. Born in New Jersey and a graduate of Rutgers, Husar now lives in Toronto. Her work is represented in many institutions, notably The National Gallery of Canada and the Canadian Museum of Civilization.
Art Gallery of Hamilton (2002) 80 pages, 42 ill. (23 col.) 11x8 in. softcover 0919153704 $21.95 (Can./U.S.)
Modern Colours: The Art of Randolph S. Hewton (1888-1960)
Victoria Baker
Considered a radical among Montreal painters of the 1920s, Randolph Stanley Hewton made his mark on Canadian art in the post-war years with landscape and figure paintings remarkable in their bold use of colour and unique stylings. He also exerted an influence on the early development of modern art as a painting instructor and director of the Art Association of Montreal School between 1921 and 1924. Friends from youth with A. Y. Jackson, Frederick Porter and John Lyman, he was a guest contributor to the first Group of Seven exhibition and a founding member of the Canadian Group of Painters. Baker outlines the contributions of this undeservedly forgotten artist within the context of new scholarship regarding the development of early twentieth-century modern art. Colour plates and a chronology complete the publication.
Art Gallery of Hamilton (2002) 56 pages, 19 ill. (11 col.) 10.5x8 in. softcover 0919153720 $18.00 (Can./U.S.)
Stand by Your Man or Annie Crawford Hurn: My Life with Tom Thomson
Andrew Hunter
Hunter's ability to spin tales of fact and imagination into a kind of national Canadian narrative has been seen before as in Billy's Vision, a story of the dustbowl Prairies. Now he turns to a Canadian icon and gives us a soulful dialogue about events leading up to Thomson's never-resolved disappearance. Conceived as part of a touring installation, the publication is presented in storybook form and interspersed with reproductions of the paintings of Tom Thomson along with images from the author.
Art Gallery of Hamilton (2001) 48 pages, 50 ill. 11x9 in. hardcover 0889501270 $15.00 (Can./U.S.)
William Blair Bruce: Painting for Posterity
Arlene Gehmacher
This first in a series of scholarly books to be produced by the museum is a frank and engaging account of the professional life of the nineteenth-century Canadian artist. While Bruce did leave a legacy of some of the gems of the period, Gehmacher makes it clear that there would have been no success without the marketing expertise of the artist, his family and associates. Through the use of private letters, newspaper accounts and interviews, she delineates the business of art in an era when there was no public financing or support.
Art Gallery of Hamilton (2000) 72 pages, 42 ill. (19 col.) 10.5x9 in. softcover 0919153631 $24.95 (Can./U.S.)
Centrifugal
Eileen Sommerman
Publication dedicated to public art projects meant to address the impact of the urban environment on the individual. Participating artists include Kim Adams, Gwen MacGregor and Kelly Mark.
Art Gallery of Hamilton (2000) 48 pages, 20 ill. 8x6 in. softcover 091915364x $9.95 (Can./U.S.)
Alt.shift.control: Musings on Digital Identity
Steve Loft & Shirley Madill
Catalogue of an exhibition produced in conjunction with the Native Indian/Inuit Photographers' Association and featuring digital photography by three Native artists. Larry McNeil (Idaho) has exhibited at the Ansel Adams Center for Photography and the Institute of American Indian Arts Museum. Lita Fontaine (Manitoba) has exhibited at Neutral Ground and Tribe Gallery. Rosalie Favell (New Mexico/Toronto) has exhibited at the University of New Mexico's Sommers Gallery and the Canadian Museum of Civilization).
Art Gallery of Hamilton (2000) 26 pages, 6 col. ill. 8x7 in. 0919153674 $8.00 (Can./U.S.)
Kelly Mark
Ivan Jurakic, Cliff Eyland & Eileen Sommerman
Described as one of the most ambitious artists to enter the later part of the 1990s, Mark has developed a unique practice informed by Minimalism and Conceptualism and dedicated to aestheticizing the mundane through the use of photography, video and sculpture. Two essays and an interview.
Art Gallery of Hamilton (2000) 40 pages, 12 ill. 8x7 in. softcover 0919153666 $9.95 (Can./U.S.)
Harriet Ford
Tobi Bruce & Jennifer C. Watson
Harriet Ford's (1859-1938) first solo exhibit in over ninety years. Her portraits and landscapes reveal an individual who embraced new artistic concepts and worked as an equal within male art bastions at home and abroad. Although little is known about the Ontario-native, this publication provides a glimpse of an uncommon commitment to art and life. Works by Harriet Ford can be found in the National Gallery and the Art Gallery of Ontario.
Art Gallery of Hamilton (2001) 40 pages, 14 ill. (10 col.) 7.5x7 in. 0919153682 $12.00 (Can./U.S.)
George Wallace: Sculpture & Graphics
Bryce Kanbara
Wallace's unique sculptural practice - welded steel figures depicted in various states of desolation to epiphany and often painted in primary colours - has been remarkably under-recognized for decades. Through an essay and an interview Kanbara elucidates this important contribution to Canadian art. Born in Dublin in 1920 and immigrating to Canada in 1957, Wallace lives in Victoria British Columbia.
Art Gallery of Hamilton (2001) 24 pages, 7 ill. (4 col.) 8x7 in. 0919153690 $6.00 (Can./U.S.)
Geneviève Cadieux
Laurence Louppe, Chantal Pontbriand & Scott Watson
Cadieux's photographic murals and video installation create an archetypal dialogue between a man and a woman and, presented together, induce a paradoxical sensations of fear/euphoria and desire/repression. Cadieux has exhibited internationally, notably at the Centre Pompidou and the New Museum. Co-produced with the Morris & Helen Belkin Gallery and the Musée des Beaux-arts de Montréal.
Art Gallery of Hamilton (1999) 59 pages, 12 col. ill. 10x11 in. softcover 0888656084 $29.95 (Can./U.S.)
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