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Imagining Resistance: Visual Culture and Activism in Canada offers strategies for reading alternative culture in Canada from the 1940s through to the present. Alongside, authors consider case studies as diverse as the anti-war work done by John Lennon and Yoko Ono in Montreal and Toronto, recent exhibitions of activist art in Canadian institutions, radical films,(...)
Imagining resistance: Visual culture and activism in Canada
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Imagining Resistance: Visual Culture and Activism in Canada offers strategies for reading alternative culture in Canada from the 1940s through to the present. Alongside, authors consider case studies as diverse as the anti-war work done by John Lennon and Yoko Ono in Montreal and Toronto, recent exhibitions of activist art in Canadian institutions, radical films, performance art, protests against the Olympics, interventions into anti-immigrant sentiment in Montreal, and work by Iroquois photographer Jeff Thomas. Taken together, the writings in Imagining Resistance touch on the local, the global, the national, and post-national to imagine a very different landscape of cultural practice in Canada.
Canadian art
General Idea: Imagevirus
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In the mid-1980s, the Canadian art group General Idea created a symbol using the acronym AIDS, arranging the letters in a manner that resembled Robert Indiana's famous LOVE logo. This launched Imagevirus, a project of paintings, sculptures, videos, posters, and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission.(...)
General Idea: Imagevirus
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In the mid-1980s, the Canadian art group General Idea created a symbol using the acronym AIDS, arranging the letters in a manner that resembled Robert Indiana's famous LOVE logo. This launched Imagevirus, a project of paintings, sculptures, videos, posters, and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. The Imagevirus spread like a virus, producing an image epidemic in urban spaces from Manhattan to Sydney. Bordowitz explores the virus as idea, as tactic, and as identity.
Canadian art
Jason Logan: Festus
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It is with optimism, and a pioneering spirit that a man carries a cane and top hat into the wilderness. Like Philip Guston's "Poor Richard" drawings, the figures in Jason Logan's paintings are variations on an allegorical character: a man somewhere between a captain of industry and prospector, panning for gold along the cold line between the United States and Canada.(...)
Jason Logan: Festus
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It is with optimism, and a pioneering spirit that a man carries a cane and top hat into the wilderness. Like Philip Guston's "Poor Richard" drawings, the figures in Jason Logan's paintings are variations on an allegorical character: a man somewhere between a captain of industry and prospector, panning for gold along the cold line between the United States and Canada. However the images convey respectability that is fraying and desperate. Logan's shabby magicians, hopeful gold diggers, greedy oilmen and gentlemen loggers illustrate the eternal pairing-off of reason and nature, set in the Canadian Pacific northwest.
Canadian art
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Canadian artist Micah Lexier has built an international reputation working in a variety of media, often making work with numerical themes.This publication is a survey of the artist's invitations, posters, book works, T-shirts, boxed sets and other multiples produced between 1980 and 2010.
Micah Lexier: I'm thinking of a number
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Canadian artist Micah Lexier has built an international reputation working in a variety of media, often making work with numerical themes.This publication is a survey of the artist's invitations, posters, book works, T-shirts, boxed sets and other multiples produced between 1980 and 2010.
Canadian art
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Depuis 2004, l’artiste québécoise Olivia Boudreau allie performance et vidéo dans un corpus qui s’accomplit dans la durée et la répétition en explorant des notions du visible. En mettant à contribution le plan fixe, un cadrage serré et une économie de mouvements, et plus récemment l’interactivité de la narrativité, ses installations et performances en direct proposent une(...)
Olivia Boudreau : l'oscillation du visible
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Depuis 2004, l’artiste québécoise Olivia Boudreau allie performance et vidéo dans un corpus qui s’accomplit dans la durée et la répétition en explorant des notions du visible. En mettant à contribution le plan fixe, un cadrage serré et une économie de mouvements, et plus récemment l’interactivité de la narrativité, ses installations et performances en direct proposent une expérience temporelle et perceptuelle captivante pour le spectateur. Ce premier ouvrage illustré sur son travail comprend des essais des historiens de l’art Christine Ross et Eduardo Ralickas qui discutent de temporalité, de matérialité et de réception dans sa pratique ainsi qu’un long entretien entre l’artiste et la commissaire Michèle Thériault.
Canadian art
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Letters profiles Canadian artist Michael Morris during the period between 1964 and 1971 with a particular focus on his relationship with concrete poetry, considered to be among the first global art movements, springing up in South and North America, Japan and Europe. Artist, educator, and curator Michael Morris has been a key figure in the West Coast art scene for more(...)
Letters: Michael Morris and concrete poetry
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Letters profiles Canadian artist Michael Morris during the period between 1964 and 1971 with a particular focus on his relationship with concrete poetry, considered to be among the first global art movements, springing up in South and North America, Japan and Europe. Artist, educator, and curator Michael Morris has been a key figure in the West Coast art scene for more than four decades. His interest in concrete poems underlies his desire to develop the relationship between one medium and another—this was a period in which his work shifted from primarily painting to photography, sculpture, performance, and video. Artist, educator, and curator Michael Morris has been a key figure in the West Coast art scene for more than four decades. His interest in concrete poems underlies his desire to develop the relationship between one medium and another—this was a period in which his work shifted from primarily painting to photography, sculpture, performance, and video. Letters, a series of six painted triptychs executed in the late 1960s that form the basis of this book, embody this interdisciplinary thinking. Incorporating vertical mirrors, they were imagined not only as objects in themselves, expressing the pivotal role light plays in painting, but also as ‘props’, before which a dance performance might take place.
Canadian art
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Through a series of comprehensive contextual essays The Beaver Hall Group: 1920s Modernism in Montreal interweaves the work of this pioneering artistic collective within a broader narrative of the arts in the first half of the twentieth century. Exploring the groups’ greater role in the modernity of Canada—and more specifically the cultural context of Montreal—the book(...)
The Beaver Hall Group: 1920s modernism in Montreal
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Through a series of comprehensive contextual essays The Beaver Hall Group: 1920s Modernism in Montreal interweaves the work of this pioneering artistic collective within a broader narrative of the arts in the first half of the twentieth century. Exploring the groups’ greater role in the modernity of Canada—and more specifically the cultural context of Montreal—the book takes on core themes such as the rise of the metropolis, juxtapositions between economic progress and cultural development, and the impact of gender on critical approaches to both artists and their work. The Beaver Hall Group: 1920s Modernism in Montreal sits alongside a major exhibition and is published in partnership with the Montreal Museum of Fine Art.
Canadian art
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A collection of writings exploring the transgressive and transdisciplinary nature of Bill Burns’ practice, richly illustrated with material representing his work across photography, performance, writing and artists’ books.
Hans-Ulrich Obrist hear us, featuring Bill Burns
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A collection of writings exploring the transgressive and transdisciplinary nature of Bill Burns’ practice, richly illustrated with material representing his work across photography, performance, writing and artists’ books.
Canadian art
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Le déménagement (le rapt, diront ses opposants) de la fontaine La Joute, la plus imposante sculpture de Riopelle, du Parc olympique vers le quartier des affaires, souleva un « débat sans précédent au Québec » autour d'une oeuvre d'art public. Non sans raison: peaufiné depuis cinq ans par les déménageurs, au premier chef la ministre-députée du comté qui allait pourtant(...)
Les folies vies de la Joute de Riopelle
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Le déménagement (le rapt, diront ses opposants) de la fontaine La Joute, la plus imposante sculpture de Riopelle, du Parc olympique vers le quartier des affaires, souleva un « débat sans précédent au Québec » autour d'une oeuvre d'art public. Non sans raison: peaufiné depuis cinq ans par les déménageurs, au premier chef la ministre-députée du comté qui allait pourtant être dépouillé de l'oeuvre, le projet était secret. Il aura fallu la maladresse d'un de ses artisans, en mars 2002, pour le révéler à un public stupéfait et mettre le feu aux poudres. Ce sont les coulisses de cette affaire, exemple de l'arrogance des pouvoirs publics, que dévoile la présente enquête, en plus de raconter l'histoire tragico-rocambolesque de La Joute. Au fil des pages, on découvrira aussi d'autres folles histoires, nées, celles-là, des susceptibilités du public, confronté à une oeuvre parachutée sans préavis dans le voisinage. Quoi qu'il en soit, tant ces susceptibilités parfois explosives du public que l'arrogance des autorités devraient nous inciter à réfléchir à des formes nouvelles de démocratie patrimoniale.
Canadian art
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Risk Colour Book is the result of an encounter between two bodies of work, both involved with the concept of risk. Whether we are dealing with an inventory of toxic pigments and their possible secondary effects or with a performance recreating the moment when a pedestrian is struck by a car, Gustavo Artigas explores the various possible kinds of risk, disasters and(...)
September 2009, Montréal
Risk colour book: Gustavo Artigas
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Risk Colour Book is the result of an encounter between two bodies of work, both involved with the concept of risk. Whether we are dealing with an inventory of toxic pigments and their possible secondary effects or with a performance recreating the moment when a pedestrian is struck by a car, Gustavo Artigas explores the various possible kinds of risk, disasters and accidents. Through recording, repetition and the staging of action, Artigas exposes the fragility of the body, subjected to a cunningly latent violence.