Vanishing British Columbia
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The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may(...)
Architecture du Canada
octobre 2005, Vancouver Toronto Seattle
Vanishing British Columbia
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The old buildings and historic places of British Columbia form a kind of “roadside memory,” a tangible link with stories of settlement, change, and abandonment that reflect the great themes of our history. With small towns declining and old rural properties changing, so little of the history of these places has been recorded in museums or archives, and so much of it may disappear as families disperse and memories dim. More than a decade ago, Michael Kluckner began painting these dots on his personal map of the province in a watercolour sketchbook. In 1999, after he put a few of the sketches on his website, a network of correspondents emerged that eventually led him to the family letters, photo albums, and memories – all from a disappearing era of the province. Vanishing British Columbia is a record of these places and the stories they tell. It combines engaging and insightful historical commentary with over 160 of the author’s original paintings. It has an exceptional assortment of historic imagery, including old postcards, architectural plans, and photographs. The study of roadside memory demonstrates the visceral connection that people, especially those who are part of the rural-to-urban diaspora of modern times, have for the sites of their family memories. On a grander scale this approach leads to a broader understanding of more abstract historical themes and of the province’s history and culture. It also presents a compelling argument for stewardship of regional history in the face of urbanization and globalization.
Architecture du Canada
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Lavoie médite sur la relation entre un acte final, soit la pose du dernier crampon du Chemin de fer Canadien Pacifique traversant le pays d'est en ouest en 1885 et, en même temps, fondateur puisqu'il permettait de donner réalité à l'idée même de "pays". Cet évènement historique est revisité afin d'y inclure le rôle de tout gouvernement quant à l'établissement du concept(...)
Images premières : mutations d'une icône nationale / Primal images : transmutations of a national icon
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Lavoie médite sur la relation entre un acte final, soit la pose du dernier crampon du Chemin de fer Canadien Pacifique traversant le pays d'est en ouest en 1885 et, en même temps, fondateur puisqu'il permettait de donner réalité à l'idée même de "pays". Cet évènement historique est revisité afin d'y inclure le rôle de tout gouvernement quant à l'établissement du concept de "la naissance de la nation". Illustrées avec des photographies, des dessins et des affiches d'époque, cette publication est le volet canadien de l'exposition du Mois de la Photo à Paris 2004 et accompagnera cette même exposition qui sera présentée au Musée McCord dans le cadre du Mois de la Photo à Montréal 2005. En français et anglais. -- This publication accompanies exhibitions in two international photography bienniales. Le Mois de la Photo à Paris 2004 and Le Mois de la Photo à Montréal 2005. The primal image referred to is the photograph recording the completion of Canada's national railway in 1885: "the driving of the last spike". Supported by a wide variety of historical and contemporary documentation, Lavoie shows how this apparently straightforward historical record was used to create the notion of Canada. By looking at the countless reproductions, copies and caricatures of this primal image he dissects the deliberate and ideological construction of nationhood. Profusely illustrated with photographs, film stills, posters and political cartoons from over 100 years. Produced in collaboration with the McCord Museum. In English and French.
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janvier 2005, Paris
Architecture du Canada
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Le monde des arts et la société en général se souviennent encore de cette décennie que fut les années soixante au Canada. Que se soit le mélange révolutionnaire et hautement créatif des divers moyens d'expression ou des multiples manifestations artistiques, les années soixante ont été une pierre angulaire de l'art et ont donné naissance au néo-dadaïste, pop art et(...)
Architecture du Canada
janvier 2005, Ottawa
Les années soixante au Canada
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Le monde des arts et la société en général se souviennent encore de cette décennie que fut les années soixante au Canada. Que se soit le mélange révolutionnaire et hautement créatif des divers moyens d'expression ou des multiples manifestations artistiques, les années soixante ont été une pierre angulaire de l'art et ont donné naissance au néo-dadaïste, pop art et minimalisme, pour ne nommer quelques nouveaux courants de l'époque. Cette publication rappelle les expressions artistiques qui abondaient au Canada durant cette décennie : les expériences alliant art et technologie, l'influence de puissants médias de masse, toiles modernistes de pointe, les débuts de l'art conceptuel et photographique, ainsi que les premières créations de films et vidéos expérimentaux.
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janvier 2005, Ottawa
Architecture du Canada
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The Sixties in Canada
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The sixties were a decade of questioning and experimentation, of testing the limits and pushing the boundaries of artistic forms. This frenzy of activity resulted in diverse artistic manifestations, including innovations in photography, a medium that was redefined during this period from a simple practical tool to a recognized art form. This comprehensive catalogue(...)
Architecture du Canada
janvier 2005, Ottawa
The Sixties in Canada
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The sixties were a decade of questioning and experimentation, of testing the limits and pushing the boundaries of artistic forms. This frenzy of activity resulted in diverse artistic manifestations, including innovations in photography, a medium that was redefined during this period from a simple practical tool to a recognized art form. This comprehensive catalogue accompanies the exhibition, “The Sixties: Photography in Question” held at the Canadian Museum of Contemporary Photography.
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janvier 2005, Ottawa
Architecture du Canada
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Those familiar with Nova Scotia understand the austere beauty of this Canadian landscape, with its wide open skies and rugged terrain pushing up against the Atlantic. MacKay-Lyons's work responds to this unique topography and to the vernacular building traditions that define its communities. His houses, commercial buildings, and public projects combine regional forms with(...)
Plain Modern : the architecture of Brian MacKay-Lyons
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Those familiar with Nova Scotia understand the austere beauty of this Canadian landscape, with its wide open skies and rugged terrain pushing up against the Atlantic. MacKay-Lyons's work responds to this unique topography and to the vernacular building traditions that define its communities. His houses, commercial buildings, and public projects combine regional forms with local materials, technologies, and building practices to create works that are linked to their environments right down to their DNA. Peaked gables, shed roofs, and sliding doors are inspired by local barn types; corrugated metal cladding comes from the buildings used by the area's fishing industry; structural wooden frames are based on local ship-building traditions. These elements communicate a sense of place that is sophisticated, accessible, and free of sentimentality. Novelist and historian Malcolm Quantrill weaves together an intimate portrait of MacKay-Lyons and his work, elucidating the "peculiar regionality" of his subject's architecture.
Architecture du Canada
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The red maple leaf is the quintessential symbol of Canada and the flag that popularized it throughout the world was designed in the 1960s as a result of government legislation aimed at creating a vital, new Canadian national identity through objects, events, and building projects. Made in Canada looks at the development of Canadian craft, design, and culture through(...)
Made in Canada : craft and design in the sixties
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The red maple leaf is the quintessential symbol of Canada and the flag that popularized it throughout the world was designed in the 1960s as a result of government legislation aimed at creating a vital, new Canadian national identity through objects, events, and building projects. Made in Canada looks at the development of Canadian craft, design, and culture through ambitious government programs meant to reinforce the country's identity as a modern, sophisticated, and autonomous nation. As well, it documents the demise of a singular notion of modern life and its replacement with a focus on personal identity and consumerism. Changes in the 1960s included the building of modern airports, first space satellite, and new national symbols such as the maple leaf flag. Canadians embraced this heightened sense of individuality and demanded products that were equally individual. As a result pop culture objects sat on cool furniture influenced by Scandinavian modernism while handmade crafts reflected a growing concern with environmental issues. Expo 67 was the turning point - one final expression of optimism before Canada was rocked by social change and varied struggles for identity. Made in Canada examines national dreams and expressions of individuality in thoughtful and illuminating essays. Contributors include Sandra Alfoldy (NSCAD University), Paul Bourassa (Musée des beaux-arts de Québec), Brent Cordner (designer and educator, Toronto), Douglas Coupland (artist and author, Vancouver), Bernard Flaman (Government of Saskatchewan), Rachel Gotlieb (freelance curator and writer, Toronto), Michael Large (Sheridan College Institute of Technology and Advanced Learning), and Michael Prokopow (Design Exchange).
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février 2005, Montreal
Architecture du Canada
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De Douglas Coupland à Paul Bourassa, des artistes, conservateurs et historiens de I'art renommés jettent un regard sur le design et I'identité canadienne des années soixante.
Fabriqué au Canada : métiers d'art et design dans les années soixante
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De Douglas Coupland à Paul Bourassa, des artistes, conservateurs et historiens de I'art renommés jettent un regard sur le design et I'identité canadienne des années soixante.
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février 2005, Montréal
Architecture du Canada
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On y retrouvera des réalisations des architectes suivants: A.J. Diamond, Donald Schmitt and Company, Affleck + De la Riva, Blue Sky, Bosses Design, Brian MacKay-Lyons, Gauthier Daoust Lestage, Ian MacDonald, Hal Ingberg et Mark Poddubiuk, Jacques Rousseau, Kuwabara Payne McKenna Blumberg, Marc-André Tellier, Natale et Scott, Patkau Architects, Peter Cardiew, Pierre(...)
Maisons-lieux : architecture contemporaine au Canada - Houses-places : contemporary Canadian architecture
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On y retrouvera des réalisations des architectes suivants: A.J. Diamond, Donald Schmitt and Company, Affleck + De la Riva, Blue Sky, Bosses Design, Brian MacKay-Lyons, Gauthier Daoust Lestage, Ian MacDonald, Hal Ingberg et Mark Poddubiuk, Jacques Rousseau, Kuwabara Payne McKenna Blumberg, Marc-André Tellier, Natale et Scott, Patkau Architects, Peter Cardiew, Pierre Thibault, Shim-Sutcliffe ainsi que Saucier + Perrotte.
Architecture du Canada
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Old Toronto houses
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In "Old Toronto houses" Tom Cruickshank and John de Visser take the reader on a tour of old Toronto. Starting with Henry Scadding's simple log house built in 1794 near the Don river, the book moves through more than twenty signature styles : Georgian, Regency, Gothic, Victorian, Greek revival, Dutch colonial and many more, ending with Lawren Harris's sleek art deco(...)
Architecture du Canada
janvier 1900, Toronto
Old Toronto houses
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In "Old Toronto houses" Tom Cruickshank and John de Visser take the reader on a tour of old Toronto. Starting with Henry Scadding's simple log house built in 1794 near the Don river, the book moves through more than twenty signature styles : Georgian, Regency, Gothic, Victorian, Greek revival, Dutch colonial and many more, ending with Lawren Harris's sleek art deco house in Forest Hill. From simple labourer's cottages in Cabbagetown to secluded mansions in Bayview Heights, the architecture of houses reflects the changing needs and tastes of Toronto's citizens during the last two hundred years.
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janvier 1900, Toronto
Architecture du Canada
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In 1949, the forest magnate, H.R. MacMillan, opened an exhibition at the Vancouver Art Gallery entitled “Design for Living,” a show which brought together design and artistic communities to create four imaginary households for postwar Vancouverites. It also heralded an unprecedented level of cooperation between the province’s industry and its artists and craftspeople – a(...)
A Modern life : art and design in British Columbia, 1945-1960
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In 1949, the forest magnate, H.R. MacMillan, opened an exhibition at the Vancouver Art Gallery entitled “Design for Living,” a show which brought together design and artistic communities to create four imaginary households for postwar Vancouverites. It also heralded an unprecedented level of cooperation between the province’s industry and its artists and craftspeople – a relationship that seemed to hold great promise for the development of art, furniture, and craft in B.C. The celebration of the cooperative spirit between “architects, artists and designers,” between “potters, weavers and gardeners” is central to "A Modern Life", which examines the coming together of what were often very separate disciplines in post-World War II British Columbia, as well as the trend-setting design and use of materials that developed in the province, and the impact these had on the more traditional art community. "A Modern Life", demonstrates that the ideas of the artistic and design community as a whole during this vibrant period – an era of optimism and promise for the future, in a province that had reason to believe passionately in what was to come – have a continued relevance and importance for our understanding of the history of this community and the relationship of the built environment to the extraordinary landscape of British Columbia. With essays by Rachel Chinnery on ceramics, Scott Watson on fine arts, Alan Elder on collaboration, Allan Collier on wood and design, and Sherry McKay on architecture.
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octobre 2004, Vancouver
Architecture du Canada