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Cette monographie propose un parcours rétrospectif et prospectif couvrant les 10 dernières années de production de l'artiste Giorgia Volpe.
Giorgia Volpe : Mues et entrelacs
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Cette monographie propose un parcours rétrospectif et prospectif couvrant les 10 dernières années de production de l'artiste Giorgia Volpe.
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Mathieu Beauséjour : Icarus
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Les textes de ce catalogue portent un regard sur l'ensemble de l'exposition de Mathieu Beauséjour ayant eu lieu du 14 janvier au 18 février 2012 sous forme de réflexions autour du mythe d'Icare.
Mathieu Beauséjour : Icarus
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Les textes de ce catalogue portent un regard sur l'ensemble de l'exposition de Mathieu Beauséjour ayant eu lieu du 14 janvier au 18 février 2012 sous forme de réflexions autour du mythe d'Icare.
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$19.95
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«Le lundi, je fais un dessin au fusain. Le mardi, je fais une aquarelle. Le mercredi, je fais un collage. Le jeudi, je peins un tableau à l'huile. Le vendredi, je fais une sculpture. Le samedi, je fais un vidéo. Le dimanche, je détruis le tout pour recommencer le lundi.»
Edmund Alleyn: de jour, de nuit
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«Le lundi, je fais un dessin au fusain. Le mardi, je fais une aquarelle. Le mercredi, je fais un collage. Le jeudi, je peins un tableau à l'huile. Le vendredi, je fais une sculpture. Le samedi, je fais un vidéo. Le dimanche, je détruis le tout pour recommencer le lundi.»
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Cavalcade en cyclorama
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Cavalcade en cyclorama, lister des éléments qui ont un lien entre eux, même ténu, même absurde, ne jamais s’arrêter, ne jamais se répéter, comme dans Freeing the Memory (1976) de Marina Abramovic, une suite de mots, un fil continu, sans fil conducteur, un conducteur de locomotive, un chemin de fer, suivre la track, dérailler, perdre la carte, déparler, ne plus faire sens,(...)
Cavalcade en cyclorama
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Cavalcade en cyclorama, lister des éléments qui ont un lien entre eux, même ténu, même absurde, ne jamais s’arrêter, ne jamais se répéter, comme dans Freeing the Memory (1976) de Marina Abramovic, une suite de mots, un fil continu, sans fil conducteur, un conducteur de locomotive, un chemin de fer, suivre la track, dérailler, perdre la carte, déparler, ne plus faire sens, sauter du coq à l’âne, cocorico, de l’humour con, un poème idiot, écrit en public en huit jours, par Marc-Antoine K. Phaneuf.
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This book documents the historical and contemporary contributions that First Peoples, radicalized, differently abled, and LGBTQ artists and administrators have made to the media arts in Canada.
Other places: reflections on media arts in Canada
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This book documents the historical and contemporary contributions that First Peoples, radicalized, differently abled, and LGBTQ artists and administrators have made to the media arts in Canada.
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Michael Snow is one of Canada?s greatest living artists, widely acknowledged as one of the most significant figures in twentieth-century Canadian art. "Early Snow" focuses on the nascent stages of the artist?s career?- which is comparatively underexamined in art commentary and critical literature- ?and demonstrates how wide-ranging were his achievements in painting,(...)
Early snow: Michael Snow 1947-1962
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Michael Snow is one of Canada?s greatest living artists, widely acknowledged as one of the most significant figures in twentieth-century Canadian art. "Early Snow" focuses on the nascent stages of the artist?s career?- which is comparatively underexamined in art commentary and critical literature- ?and demonstrates how wide-ranging were his achievements in painting, drawing, sculpture, foldage, cinema, and photography. Snow?s first achievements may serve as a blueprint for his later career, but they also give ample proof of the creative heights he had already reached by the age of thirty-three. This book reveals a young man whose catholic interests in art and literature contributed to his uncanny ability to create profoundly original works of art. Perceptive essays by James King argue that these artworks are best approached in the context of Snow?s knowledge of modern European art (Paul Klee, Ben Nicholson, Alberto Giacometti) and contemporary American art (Willem de Kooning, Conrad Marca-Relli, Donald Judd, Marcel Duchamp), and that, ultimately, the work created during this era is about transformation.
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Assembled by Jean-Christophe Ammann of Kunsthalle Basel, this publication comprises a near-complete visual archive of the creative practice of Iain and Ingrid Baxter as the N.E. Thing Company. N.E. Thing Co. was a Vancouver-based conceptual art group run by copresidents Iain and Ingrid Baxter. The 'company' acted as a vehicle that interrogated art, domestic systems,(...)
N. E. Thing Co. : Companies act (Volume 1)
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Assembled by Jean-Christophe Ammann of Kunsthalle Basel, this publication comprises a near-complete visual archive of the creative practice of Iain and Ingrid Baxter as the N.E. Thing Company. N.E. Thing Co. was a Vancouver-based conceptual art group run by copresidents Iain and Ingrid Baxter. The 'company' acted as a vehicle that interrogated art, domestic systems, corporate strategies and everyday life through the use of photography, information technology and installation-based works. Due to N.E. Thing Co.’s small runs, this work is particularly scarce. Originally published in an edition of 500, this facsimile second edition makes Companies Act accessible for the first time in over 40 years.
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Michael Snow: Cover to cover
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For years an out-of-print rarity, Canadian artist, filmmaker and musician Michael Snow's classic 1975 artist's book 'Cover to Cover' is available once again, in this facsimile edition. Flipping through 'Cover to Cover', which is composed entirely of photographs in narrative sequence, one might describe it as a book made by a filmmaker. Each individual page features a(...)
Michael Snow: Cover to cover
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For years an out-of-print rarity, Canadian artist, filmmaker and musician Michael Snow's classic 1975 artist's book 'Cover to Cover' is available once again, in this facsimile edition. Flipping through 'Cover to Cover', which is composed entirely of photographs in narrative sequence, one might describe it as a book made by a filmmaker. Each individual page features a distinct moment, seen from one perspective on the front, and from a diametrically opposed angle on the back, occasionally pivoting between interior and exterior spaces. Midway through the book, the images are inverted such that the volume must be turned upside-down to be looked at right-side up. The result is a disorienting study in simultaneity.
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Jean Paul Riopelle est surtout connu pour les célèbres toiles abstraites de sa maturité artistique. Toutefois, François Marc Gagnon amorce cette histoire fascinante avec les premières peintures et l'adhésion précoce à l'objectivité, avant de sonder la participation de l'artiste à l'automatisme et l'incidence durable de ce mouvement sur son œuvre.
Jean Paul Riopelle et le mouvement automatiste
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Jean Paul Riopelle est surtout connu pour les célèbres toiles abstraites de sa maturité artistique. Toutefois, François Marc Gagnon amorce cette histoire fascinante avec les premières peintures et l'adhésion précoce à l'objectivité, avant de sonder la participation de l'artiste à l'automatisme et l'incidence durable de ce mouvement sur son œuvre.
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Archetypes: David K. Ross
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Archetypes features a recent series by Canadian artist David K. Ross, who works at the interface of photography, film, and installation. His images of architectural mock-ups, staged at night with dramatic lighting that isolates structures from their surroundings, demonstrate how these objects have become a charged form of proto-architecture. They also change how we view(...)
Archetypes: David K. Ross
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Archetypes features a recent series by Canadian artist David K. Ross, who works at the interface of photography, film, and installation. His images of architectural mock-ups, staged at night with dramatic lighting that isolates structures from their surroundings, demonstrate how these objects have become a charged form of proto-architecture. They also change how we view the practice of architecture by documenting and framing unseen aspects of its emergence. Built at full scale, these architectural fragments—to be removed from construction sites as buildings near completion—ensure that a project can be executed exactly to design, and they provide clients with a simulation of a building that leaves little space for speculation. The task of mock-up documentation is usually left to architects and contractors, who take quick snapshots for their reference during site visits.The book offers a platform to consider what it means to pre-construct fragments of buildings in all their complexity.
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