McMaster Museum of Art

McMaster Museum of Art

A Cultivating Journey: The Herman H. Levy Legacy
Tabitha Barber, Tobi Bruce, Lloyd DeWitt, Ihor Holubizky, Alex Kidson, Alison McQueen, Kim Ness, Caterina Pierre.
With an introduction by Carol Podedworny

cultivatingjurney.jpgspacer.gifA Cultivating Journey examines the collection of significant European historical and modern art donated to the McMaster Museum of Art by Herman Levy in 1984, and includes works by Courbet, Derain, Monet, Pissarro and Van Gogh. Today the production of such a project raises the critical question: how does the museum collect in the twenty-first century? This would have been a much easier consideration when the Levy donation entered the museum’s collection. Up until that time, art history and the museum were Western inventions that served a particular period (circa 1860-1980) without contestation. The situation has since changed, forcing a reconsideration of the making, collecting, and presenting of art in a diverse, global, multi-centred world through a decidedly ideological institution. This thoroughly illustrated publication serves as both exhibition catalogue and analysis of the task at hand. In essays and extended didactic statements on individual works, experts in their fields document the conundrum while speaking to/in the present museological moment. Discussions include the act of collecting; the transfer of personal to public; the enduring yet changing cultural significance of works of art - formally and socio-politically; the changing nature of collections; and the role of the museum in naming, classifying, interpreting, and maintaining works of cultural heritage. In English and French.

The authors : Tabitha Barber is Curator of British Art, 1550-1750, Tate Britain. Tobi Bruce is Director, Collections and Exhibitions, Art Gallery of Hamilton. Lloyd DeWitt is Chief Curator, Chrysler Museum of Art. Alex Kidson is an art historian and curator, Liverpool. Alison McQueen is Professor of Art History and Director, School of the Arts, McMaster University. Kim G. Ness is an art historian and curator and former Director, McMaster Museum of Art. Caterina Y. Pierre is Professor of Art History, City University of New York. Ihor Holubizky is Senior Curator, McMaster Museum of Art. Carol Podedworny is director of the McMaster Museum of Art.

McMaster Museum of Art (03/2018) 250 pp col. ill. 10.75 x 8 in softcover   9781926632186   $45.00 Can. $49.00 U.S.

Un voyage au cœur de l’art : Le legs Herman H. Levy
Tabitha Barber, Tobi Bruce, Lloyd DeWitt, Ihor Holubizky, Alex Kidson, Alison McQueen, Kim G. Ness, et Caterina Y. Pierre.
Avec une introduction de Carol Podedworny

cultivatingjurney.jpgspacer.gifUn voyage au cœur de l’art examine la collection d’art moderne Européen légué par le collectionneur Herman H. Levy au McMaster Museum of Art en 1984. Cette imposante collection comprend les œuvres de Courbet, Derain, Monet, Pissarro, Picasso, et encore plus. Aujourd’hui, un tel projet soulève une question importante : comment un musée collectionne-t-il au 21e siècle? À l’époque du don une telle considération n’était pas à l’ordre du jour car, jusqu’aux années 1980, les musées occidentaux se sont dédiés à une certaine époque (environ 1860 -1980) et à une certaine idéologie. La situation est depuis révolue avec une nouvelle considération sur la création, la collection, et la présentation de l’art dans un monde diverse et multicentrique. Abondamment illustré, ce compendium de textes originaux examine plusieurs aspects du sujet, notamment : l’acte de collectionner des œuvres d’art ; les enjeux du transfert d’une collection privée à une institution publique ; le sens durable mais changeant d’une œuvre d’art ; ainsi que le rôle du musée dans l’appellation, la classification, l’interprétation et le maintien d’un patrimoine culturel. En français et anglais.

Les auteurs : Tabitha Barber est commissaire de l’art britannique de 1550 à 1750 au Tate Britain. Tobi Bruce est directrice des collections et des expositions à l’Art Gallery of Hamilton. Lloyd DeWitt est commissaire en chef au Chrysler Museum of Art. Alex Kidson est une historienne d’art et commissaire à Liverpool. Alison McQueen est professeure de l’histoire de l’art et directrice, School of the Arts, McMaster University. Kim G. Ness est historienne d’art et ancienne directrice, McMaster Museum of Art. Caterina Y. Pierre est professeure de l’histoire de l’art, City University of New York. Ihor Holubizky est commissaire en chef,  McMaster Museum of Art. Carol Podedworny est directrice, McMaster Museum of Art.

McMaster Museum of Art (03/2018) 250 pp ill. coul. 10.75 x 8 po souple  9781926632186   45,00 $

Living Building Thinking: Art and Expressionism
Robert Belton, Dietmar Elger, Reinhold Heller and Ihor Holubizky

livingbuildingthinting.jpgspacer.gifThis fully illustrated publication explores the development and trajectories of Expressionism in art from the early 19th century to present day. The term Expressionism is most often associated with art and social activism in Germany between 1905 and 1937. It encompasses visual art, literature, philosophy, theatre, film and photography, and architecture of that era. These original essays expand the view on the subject, showing how the impulses behind and results of Expressionism suggest that it remains relevant today. The relationship between artists and society, the visual expressions that circulate through shared hopes for social awareness and change across national borders, these all prompt artists to respond in the spirit of a moment and trigger impulses to express the human condition through art. Drawn from the extensive collection of the McMaster Museum of Art, the book features nearly 100 paintings, drawings, prints, books, camera work and video: from formative historical works of the 19th century by artists such as William Blake, Paul Gauguin, Edvard Munch, Egon Schiele and Wassily Kandinsky, through German Expressionists by the likes of Otto Dix, Emil Nolde, Erich Heckel, Kathe Kollewitz, George Grosz and Max Beckmann to contemporary works by Canadian artists such as Gershon Iskowitz, Gary Pearson, and Natalka Husar that underscore Expressionism’s relevance in society today.

Robert Belton is Associate Professor of Art History at the University of British Columbia. He is the author of Sights of Resistance: Approaches to Canadian Visual Culture (University of Calgary Press, 2001). Dietmar Elger is Head of the Gerhard Richter Archive, Dresden, Germany. He is the author of Gerhard Richter: A Life in Painting (University of Chicago Press, 2010) and Dadism (Taschen, 2016). Reinhold Heller is Professor of Art History at the University of Chicago. He is the author of Confronting Identities in German Art: Myths, Reactions, Reflections (Smart Museum Of Art, 2002) and coauthor of Edvard Munch: The Modern Life of the Soul (Museum of Modern Art, 2006). Ihor Holubizky is Senior Curator at the McMaster Museum of Art. He is the author of Sorel Etrog: Five Decades (Art Gallery of Ontario, 2013) and co-author of Walter Tandy Murch: The Spirit of Things (Robert McLaughlin Gallery, 2009).

McMaster Museum of Art (11/2016) 199 pp col. ill. 10.75 x 8 in softcover   9781926632162  $45.00 Can. $49.00 U.S.

The Unvarnished Truth: Exploring the Material History of Paintings

Brandi Lee MacDonald, Nenagh Hathaway, Fiona McNeill, Ihor Holubizky, Ron Spronk, Gianfranco Pocobene, Alison Murray, Julie Bronson and Stephanie S. Dickey
With an introduction by Carol Podedworny

spacer.gifThis compendium of original essays features discoveries made by an international team of researchers - scholars of applied radiation sciences, anthropology, art history, biomedical engineering, as well as conservators, conservation scientists, forensic art historians, and curators - who examined several paintings from the museum’s collection, including works by Vincent Van Gogh, Alexander Rodchenko and Peter Paul Rubens’ workshop. The result is a multidisciplinary, collaborative study of paintings as complex physical objects whose component parts tell us a story about their history. Drawing on the expertise of such an uncommon range of specialists, the thoroughly illustrated volume develops a large number of themes including painting technique and materials, attribution, connoisseurship, as well as issues of object condition and stability. Often referred to as technical art history, this relatively new approach reveals the valuable insights that are generated when scientific equipment is used to answer art historical questions. Stephanie Dickey outlines how the concept of connoisseurship contributed to the professionalization of art dealing and to the rise of art history as a discipline distinct from the practice of art. Gianfranco Pocobene details conservation and condition issues, and Alison Murray reviews the history, facts, and means of conservation practices in the museum and their role in restoring cultural heritage. Nenagh Hathaway offers a primer on the testing formats and methods, including microscopy, infrared reflectography, X-radiography, and X-ray fluorescence. Brandi Lee MacDonald presents the history of pigments and the technical findings of pigment analysis, which reveal information about artists’ changing practices. Fiona McNeill provides an overview of what was revealed through both X-ray and neutron methods. Ihor Holubizky considers both the possibilities and the limits of the testing project, and what science provides the art museum and its collections. Finally, Ron Spronk reflects upon the shifting dynamics of interdisciplinary practice in museum work, particularly with respect to the role of conservators and curators. In English and French.

Brandi Lee MacDonald is Research Associate in the Department of Medical Physics and Applied Radiation Sciences at McMaster University. Nenagh Hathaway is a PhD candidate in Art History at Queen’s University. Fiona McNeill is Professor in the Department of Medical Physics and Applied Radiation Sciences and an Associate Vice-President of Research at McMaster University. Ihor Holubizky is Senior Curator at the McMaster Museum of Art. Ron Spronk is Professor of Art History at Queen’s University and Radboud University Nijmegen, the Netherlands. Gianfranco Pocobene is Head of Conservation at the Isabella Stewart Gardner Museum, Boston. Alison Murray is Associate Professor of Art Conservation at Queen’s University. Julie Bronson is Collections Administrator at the McMaster Museum of Art. Stephanie S. Dickey is Professor and Bader Chair in Northern Baroque Art at Queen’s Universiy. Carol Podedworny is Director and Chief Curator at the McMaster Museum of Art.

McMaster Museum of Art (05/2016) 280 pp colour throughout 10.75 x 8 in softcover   9781926632124   $45.00 Can. $45.00 U.S.

Mise à nu : Une exploration de l'histoire matérielle de la peinture

Brandi Lee MacDonald, Nenagh Hathaway, Fiona McNeill, Ihor Holubizky, Ron Spronk, Gianfranco Pocobene, Alison Murray, Julie Bronson et Stephanie S. Dickey
Avec une introduction de Carol Podedworny

unvarnished.jpgspacer.gifFruit d’une série d’ateliers interdisciplinaires auxquels ont participé une variété de spécialistes du monde entier, cette collection d’écrits originaux présente les tableaux comme des objets physiques complexes, dont les éléments constitutifs nous racontent l’histoire. En exposant les résultats des examens techniques, les auteurs souhaitent sensibiliser le public à l’apport précieux que peuvent fournir les outils scientifiques pour résoudre des questions d’histoire de l’art. Cette approche, souvent appelée « histoire de l’art technique », est un domaine relativement récent qui consiste à examiner les œuvres d’art et leurs propriétés matérielles en recourant à l’expertise d’historiens de l’art, de restaurateurs, de scientifiques, de scientifiques en conservation et de chercheurs œuvrant dans diverses autres disciplines. Parmi les œuvres étudiés, on retrouve les tableaux de Vincent Van Gogh, d’Alexander Rodchenko et de l’atelier de Peter Paul Rubens. L’essai de Stepahnie Dickey sur le concept du « connoisseurship » explique comment il a contribué à la professionnalisation du marché de l’art et à la perception de l’histoire de l’art comme discipline distincte de la pratique artistique. L’essai de Gianfranco Pocobene sur les questions de restauration et d’état de conservation, ainsi que celui d’Alison Murray sur la science de la conservation, décrivent l’histoire, les faits et les pratiques de conservation muséale, de même que leur apport à la restauration et à la préservation du patrimoine culturel, ainsi qu’à l’obtention d’information à partir des objets matériels. L’essai de Nenagh Hathaway sur l’histoire de l’art technique présente les différents méthodes et types d’examens auxquels ont été soumis les objets faisant partie du projet, dont la microscopie, la réflectographie infrarouge, la radiographie et la fluorescence X. Brandi Lee MacDonald signe un texte sur l’histoire des pigments et sur les découvertes auxquelles ont menées les analyses de pigments qui nous en dit long sur l’évolution des pratiques artistiques. L’essai de Fiona McNeill sur l’imagerie fait un survol des méthodes dont on dispose et, pour le projet, de ce que les examens aux rayons X et aux neutrons ont révélé. Ihor Holubizky vient conclure l’ouvrage avec un essai qui s’intéresse aux possibilités et aux limites de ces examens, ainsi qu’à l’apport de la science au musée d’art et à ses collections. La postface de Ron Spronk se penche sur le changement de dynamique qu’entraîne la pratique interdisciplinaire au sein des musées, notamment en ce qui a trait aux rôles du restaurateur et du conservateur. Avec une introduction de Carol Podedworny. En français et anglais.

Brandi Lee MacDonald est associée de recherche au Département de physique médicale et de sciences appliquées des rayonnements à l’Université McMaster. Nenagh Hathaway est doctorante en histoire de l’art à l’Université Queen’s. Fiona McNeill est professeure au Département de physique médicale et de sciences appliquées des rayonnements et vice-présidente associée de la recherche à l’Université McMaster. Ihor Holubizky est conservateur principal au McMaster Museum of Art. Ron Spronk est professeur d’histoire de l’art à l’Université Queen’s et à l’Université Radboud de Nimègue, aux Pays-Bas. Gianfranco Pocobene est conservateur en chef et conservateur de la peinture au Isabella Stewart Gardner Museum de Boston. Alison Murray est professeure agrégée au programme de conservation des œuvres d’art à l’Université Queen’s. Julie Bronson est gestionnaire des collections du McMaster Museum of Art. Stephanie Dickey détient la Bader Chair in Northern Baroque Art à l’Université Queen’s. Carol Podedworny est directrice et conservatrice en chef du McMaster Museum of Art.

McMaster Museum of Art (05/2016) 280 pp ill. coul. 27.5 x 20 cm souple  9781926632124   $45.00

Picturing Wellness

Carol Podedworny, Nicole Knibb, Christine Wekerle, Resham Ejaz, and Craig Kung

picturingweliness.gifspacer.gifPublication documenting a two-part exhibition focusing on a medical humanities perspective as the bridge between understanding resilience through treatment, care and social action. The first segment examines how visual literary skills are employed by health professionals in order to develop their observational and empathetic skills. The latter segment presents artworks that ponder issues related to trauma, the body, memory, medicine, health and the museum. With work by Michelle Bellemare, Rebecca Belmore, Catherine Heard, Nancy Kembry and Yvonne Singer. The thematic is accentuated through a deliberate scratching and marking on the cover and within the margins of the publication.

McMaster Museum of Art (01/2016) 52 pp 18 ill. (14 col). 10 x 7.5 in softcover   9781926632155   $15.00 Can. $15.00 U.S.

Pre-disposed To Thinking Through the Eye of Mutual Convenience
Ihor Holubizky

predisposed.jpgspacer.gifBoth an exhibition catalogue and a critical examination of how contemporary art practice aligns with the pursuit of the conceptual in art, this publication considers the work of two emerging artists within the context of work by German artist Joseph Beuys (1921-1986). The practices of Hyang Cho and Ken Nicol are characterized by notional and self-reflexive organizing and ordering systems that draw cues from the everyday, examining and selecting readymade elements, and raiding philosophy. Their work may be described as “obsessive” or, as conveyed in the subtitle, “predisposed to”. They share an idea with Beuys, to “function as carriers for complex ideas [as much] as their capacity to release a communicative impulse between artists and viewer.” The essay explores ideas of art outside of the pictorial, such as the history of and the current practice in. Hyang Cho was born in South Korea and is based in Guelph Ontario. Ken Nicol is based in Toronto.

McMaster Museum of Art (01/2016) 78 pp 40 col. ill. 9 x 6.5 in softcover   9781926632179   $15.00 Can./U.S.

Patrick Mahon: Water Structures, Printed Sculptural Works 2012-2014

Anne Brydon, Ihor Holubizky, Robert Enright and Patrick Mahon

Mahon.gifspacer.gifPatrick Mahon is noted for his print-based projects that engage with historical and contemporary aspects of printmaking and establish community-based art initiatives, including several regarding the environment. This publication features three major exhibitions held at various locations across the country. Together they provide an excellent overview of the artist’s practice. With Voyageur, Mahon juxtaposes his graphic/wall sculptures with prints by Dürer, Hogarth and by contemporary artists to examine the critical role of visual art in moral teaching in the West. Water Memory Table is a freestanding lattice that floats at table height on nearly invisible steel legs. Based on a map of the devastating 1950 Winnipeg flood, the grid suggests the survey lines that section land into farms, and the utility networks that provide heat, power, water and information; humans build the grids, and nature washes them away. Water and Tower Allegory presents silhouettes of utilitarian structures such as towers and platforms, partially inspired by the industrial sites documented in the spartan images of German photographers Bernd and Hilla Becher. Patrick Mahon has exhibited widely throughout the country as well as internationally, most recently at La Maison patrimonale de Barthète, France (2011). Original essays and an interview with the artist explore the many facets of a singular artistic career. Published with The Robert Langen Art Gallery (Wilfrid Laurier University).

McMaster Museum of Art (04/2014) 60 pp 40 col. ill 10.25 x 8 in softcover 9781926632117 $20.00 Can. $25.00 U.S.

Levy Series

Carol Podedworny and Ihor Holubizky

levyseries.gifspacer.gifThe Levy Collection at the McMaster Museum of Art is composed of nearly 200 works of art by masters such as Monet, Van Gogh, and Durer. The Levy bequest has also enabled the Museum to acquire 350 additional works by modern and contemporary artists such as Alfedo Jarr, Joseph Beuys and Anish Kapoor. Four brief individual essays document specific aspects of the collection, namely Northern Art in the Age of Rubens and Rembrandt, The French School, artist Josef Herman, and a reflection on the role of university art museums

McMaster Museum of Art (06/2012) 4 booklets of 8 pages each enclosed within a rigid cardboard sleeve (11 x 8 in)  978-1-926632-07-0  $20.00 Can. $22.00 U.S.

Rising to the Occasion: The Long 18th Century

Mark A. Cheetham, Ihor Holubizky and Angela Sheng

rising18.jpgspacer.gifEighteenth-century art and its ongoing influence is documented in five concurrent exhibitions of historical, modern and contemporary art. Five brief essays interweave the historical and the contemporary in order to open up different discussions such as the legacies of the 18th century (the enlightenment, empiricism, revolution and innovation) and the instability of these ideas as they speak to our unstable time. Under discussion are 18th century artists Jean-Antoine Houdon, Thomas Gainsborough, Angelica Kauffmann and others, and contemporary artists Rebecca Belmore, Angela Grauerholz, Jinny Yu and others.

McMaster Museum of Art (04/2012) 40 pp 26 col. ill. 10 x 7.5 in softcover  978-1-926632-05-6  $10.00 Can. $12.00 U.S.

Husar Handbook

Gerta Moray, Carol Podedworny, Stuart Reid, Dawn Owen & Meeka Walsh

Natalka Husar is a socially conscious artist passionately engaged in reflections on art and history. Her lifelong obsession with painting and with Ukraine, her ancestral home, has led her to create an overwhelming and immediately identifiable body of work centered on the conflict between the ideal of womanhood as silent and compliant and the self she sees as powerful and aggressive. Her complex images convey multiple narratives of the past and the present, of autobiography and social history, and of the lives of girls and women caught on the cusp of change. The view would be unrelenting were it not for a dark wit and an attention to texture and fabric reminiscent of Rembrandt and Vermeer. This sumptuously produced publication provides, as the title suggests, a unique visual and intellectual encounter with the work of a singular artist. Five essays and a text by the artist are accompanied by numerous colour plates and fold-outs .Published with the Macdonald Stewart Art Centre to accompany the nationally touring exhibition, The Burden of Innocence

McMaster Museum of Art (10/2010) 82 pp 56 ill (48 col) 9 x 9.5 in hardcover  978-0-9208108-7-3  $50.00 Can. $56.00 U.S. 

Fierce: Women’s Hot-Blooded Film/Video 
Edited by Janice Hladki. Essays by Lisa Steele, Jeremy Todd, Julia Bryan-Wilson, Richard Fung & Patricia R. Zimmermann
fierce.gifspacer.gifPublication of a group exhibition adressing how Canadian-based women artists contribute to contemporary moving image culture, particularly in terms of producing the thinking image. Essays by leading artists and critics provide a rich account of video art and experimental film in the Canadian context and the impact of Canadian-based work within transnational spheres. Mobilizing narrative, documentary, autobiographical, video essay, video poem, animation, and experimental forms, the artists explore urgent concerns: public life and social justice, the global and the local, history and memory, the environment and species diversity, and war and peace. Participating artists: Maureen Bradley, Dana Claxton, Allyson Mitchell and b. h. Yael. 

McMaster Museum of Art (01/2010) 56 pp 32 col. ill. 10 x 8 in softcover 978-1-926632-04-9 $20.00 Can. $23.95 U.S.

Shelagh Keeley
Peggy Gale & Christopher Dewdney
skeely.gifspacer.gifShelagh Keeley came to prominence in the 1980s and has a significant early body of work that is housed in numerous Canadian institutions and, given Keeley’s 22-year residence in New York City, in most major American institutions. From very early on Keeley’s drawings challenged the established art world with investigations into Africa, AIDS, health and the body. More recent work includes bookworks that serve as an archive of the artist’s visual vocabulary during nearly three decades of practice. They record themes that have pervaded her practice: diversity, history, representation and that which is political and social. This monograph is the first critical assessment of Keeley's thirty-year career.

Robert McLaughlin Gallery / McMaster Museum of Art (01/2010) 92 pp 28 col. ill. 10 x 7.5 softcover 978-1-926589-03-9 $22.00 Can. $25.00 U.S.

Leonard Baskin: Works in the Collection of the McMaster Mueum of Art

Carol Podedworny

lbaskin.gifspacer.gifThis presentation of lithographs and etchings highlights the visionary career of the American artist (1922-2000). A sculptor, printmaker, draughtsman and book designer, Baskin founded The Gehenna Press for which many of these prints were produced. This publication honours the Press by duplicating its characteristic saddle-stiched binding. The works of Leonard Baskin are found in the collections of the Metropolitan Museum, the Museum of Modern Art, The National Gallery, the Vatican Museum and the British Museum.

McMaster Museum of Art (06/2009) 56 pp 18 col. ill. 11.5 x 8.5 softcover 978-1-926632-03-2 $15.00 Can. $17.95 U.S.

Allyson Mitchell: Ladies Sasquatch
Carla Garnet, Allyson Mitchell, Josephine Mills & Ann Cvetkovich

Allyson Mitchell creates installations that are epic figures, each one a monumental symbol of female brains, brawn and sexuality. Standing upright at over 10 feet tall, the sculptural works embody feminist theory and are painstakingly crafted creations of fun fur, taxidermy glass eyes and various fake bear parts. Since 1997, the Toronto-based artist has been melding feminism and pop culture to play with ideas about autobiography and the body, largely through the use of reclaimed textile and abandoned craft. Also an active curator, Mitchell is responsible for the exhibition When Women Rule the World: Judy Chicago in Thread.

McMaster Museum of Art (03/2009) 56 pp col. ill. 10 x 8 in softcover 978-1-926632-01-8 $20.00 Can. $21.95 U.S.

Richard Fung: Landscapes
Monika Kin Gagnon

Publication devoted to a new video installation by the Toronto-based video artist and cultural critic. In merging the etchings of J.M.W. Turner with video of Canadian landscape bearing the same geographical names as their British counterparts, Fung reveals the subtle ways in which land is culturally misappropriated. In her essay, Gagnon refers to the superimposition of contemporary moving images upon older fixed ones as temporal collages. As a Canadian of Chinese ancestry born in Trinidad, Fung conveys his understanding of the misrepresentation of place as conveyed by popular film and media.

McMaster Museum of Art (01/2009) 48 pp col. ill. 8 x 10.5 in softcover 978-0-9783585-9-4 $20.00 Can. $21.95 U.S.

Synesthesia: Art and the Mind

Greta Berman, Carol Steen, Daphne Maurer & Patricia Albers

Four essayists explore the impact of synesthesia, or the involuntary joining of the senses, on the work of artists who are, or who are suspected to have been, synesthestic. They include David Hockney, Joan Mitchell, Tom Thomson, and Vincent van Gogh. Carol Steen is a New York-based synesthestic artist. Greta Berman is professor of Art History at the The Juilliard School. Daphne Maurer is professor at the Department of Psychology, Neuroscience & Behavior at McMaster University.

McMaster Museum of Art (10/2008) 62 pp 12 col. ill. 10,5 x 8.5 in softcover 978-0-9783585-8-7 $20.00 Can. $23.95 U.S.

Carol Podedworny & Sally Mckay

Works by University faculty and alumni, all practicing artists, have been selected by a jury of Canadian artists who studied at the University. Presentations on participating artists are accompanied by a study of the jury process.

McMaster Museum of Art (10/2008) 40 pp col. ill. 10 x 7.5 in softcover 978-0-9783585-7-0 $10.00 Can. $12.00 U.S.

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 (11/2007) 105 pp 36 ill. (24 col.) 7 x 5 in softcover 978-0-9783585-2-5 $20.00 Can./U.S.