Publication associated with the Russian Antique Salon , pertains to Nicholas de Grandmaison and includes images from the Whyte Museum of the Canadian Rockies archive and art collections.
Notes
Publication is in Russian using Cyrillic script with partial, separate, typed translation to English
Pertains to the artwork and art history of Alex Janvier, an Indigenous man from the Cold Lake First Nations, Treaty 6 Territory. While reflecting his strong Indigenous culture, his art combines both Indigenous and Canadian stylistic elements. His art is deeply representative of his connection to nature, as well as the struggles imposed upon Indigenous Peoples through colonial relations. Parallels can be drawn when considering the effects of colonial relations on Indigenous Peoples and communities, such as those who resided in and around the Canadian Rocky Mountains.
Contents
Foreword -- Where the land begins / Greg A. Hill -- The landlord / Lee-Ann Martin -- The narrative murals of Alex Janvier : Abstraction, representation and oral history / Chris Dueker -- Plates -- Chronology : The life and work of Alex Janvier / Jaime Koebel -- List of works -- Exhibitions -- Further references.
ISBN
9780888849427
Accession Number
2019.46
Call Number
06.1 H55a
Collection
Archives Library
URL Notes
An online resource dedicated to Alex Janvier, offering insight into the history of both himself and his art work.
Fonds pertains to the opening of the Cave and Basin, June 15, 1985; the opening of the Whyte Museum of the Canadian Rockies, June 16, 1985; and the Canada Day Parade at Banff, July 1, 1985.
Materials donated in 2022 pertain to Alice Saltiel-Marshall and her career as an artist, ca.1970-2010, includ…
31 photographs : prints; col. -- 8 journals -- 3 sketchbooks -- 1 certificae -- 1 CD with digital image files -- ca.25 cm textual records
History / Biographical
(Mary) Alice Saltiel-Marshall (1948-2019) was an artist based in Canmore, Alberta, Canada. Alice operated the company Art by Saltiel and had her work displayed and sold at various locations in the Bow Valley, including the Whyte Museum, the Banff Centre, and Avens Gallery.
Scope & Content
Fonds pertains to the opening of the Cave and Basin, June 15, 1985; the opening of the Whyte Museum of the Canadian Rockies, June 16, 1985; and the Canada Day Parade at Banff, July 1, 1985.
Materials donated in 2022 pertain to Alice Saltiel-Marshall and her career as an artist, ca.1970-2010, including personal journals, sketchbooks, and a certificate naming Alice as a member of the Canmore Art Guild.
This exhibition celebrates the strength and contemporaneity of Pootoogook’s work but also uncovers how it has influenced her peers. Alongside works by Pootoogook, this exhibition will include works of art by Shuvinai Ashoona, Itee Pootoogook, Jutai Toonoo, Ohotaq Mikkigak and Siassie Kenneally, showing how Annie Pootoogook made it possible to begin a different conversation that celebrates Inuit art in new ways in Canada and the world. Bringing these artists’ works and words together in the Cutting Ice exhibition, will celebrate Annie Pootoogook as an important creative catalyst in contemporary art. (Taken from McMichael: Canadian Art Collection)
Contents
Director's foreword / Ian A.C. Dejardin -- West Baffin Eskimo Co-operative President's foreword / Pingwartok Ottokie -- West Baffin Eskimo Co-operative: a short history / Nancy Campbell, in consultation with West Baffin Eskimo Cooperative -- Dear Annie... / Nancy Campbel.
ISBN
9781773100692
Accession Number
2019.46
Call Number
06.1 C14a
Collection
Archives Library
URL Notes
The URL pertains to the site in which the information for the abstract was drawn from
"A catalogue to accompany the exhibition Anthropocene, a collaboration by the artists and filmmakers Jennifer Baichwal, Edward Burtynsky, and Nicholas de Pencier, including film, photography, virtual reality, and augmented reality. Anthropocene is organized by the Art Gallery of Ontario and the Canadian Photography Institute of the National Gallery of Canada, in partnership with Manifattura di Arti, Sperimentazione e Tecnologia (Fondazione MAST)."-- Provided by publisher.
Contents
Foreword / Stephan Jost, Marc Mayer, and Isabella Sera`gnaoli -- Far and near : new views of the anthropocene / Sophie Hackett -- The anthropocene and its "golden spike" / Colin Waters & Jan Zalasiewicz -- "How anthropo-scenic!" : concerns and debates about the age of the human / Karla McManus -- Works -- Life in the anthropocene / Edward Burtynsky -- Our embedded signal / Jennifer Baichwal -- Evidence / Nicholas de Pencier -- Adams, Adams, Baltz, Burtynsky : the role of landscape in North America photography / Urs Stahel -- The art museum and the anthropocene / Andrea Kunard.
ISBN
978-1-988788-04-3
Accession Number
2019.36
Call Number
06.4 H11a
Collection
Art Library
URL Notes
Website for the Anthropocene multidisciplinary work by Edward Burtynsky, Jennifer Baichwal, Nicholas de Pencier
Nancy Townshend's book on art inspired by the Canadian Rockies, Purcell Mountains, and Selkirk Mountains presents these mountains' justifiable prominence in world art. For over two centuries, Canadian artists have admired their magnitude and grandeur, their endlessly changing light and atmospheric conditions, their four distinct seasons, and myriad other aspects.
The book is organized chronologically into three eras: traditional (1809 –1899), Modern (1900–1973) and contemporary (1974–2012). From David Thompson's watercolours in the early nineteenth century (c. 1809) of the East Kootenays to Jan Kabatoff's multimedia art of the early twenty-first century that addresses the impact of global warming on glaciers, Townshend's book presents a whole gamut of Canadian art inspired by these great mountains. Featuring three comprehensive overviews and thirteen chapters on both central and western Canadian artists, as well as a chapter on American artist John Singer Sargent, the book offers insights into their art and inspirations.
What did two centuries of artistic exploration in the infinitely facetted Canadian Rockies, Purcells and Selkirks yield? How did the resulting works of art serve to build a unique western Canadian identity? How does the West inform Canadians about themselves, about their own place in the world at this critical time in world history?
Townshend answers these questions in this significant reference book for decades to come. Over the past two hundred years, a shift from the exploitative view of Canada's mountain West during the traditional era to the contemporary creative genesis of this area has occurred. Because of the contemporary artists' commitment to wildlife conservation and environmental issues, the contemporary era is more outward looking and expansive, concerned about the world's future.
Townshend's all-encompassing text and selected stunning images confirm John Ruskin's observation that mountains are "the beginning and end of all natural scenery." That Canada's mountain West is indeed a place to be revered, a place from which we can learn about ourselves now and in the future. (from author's website)
Contents
Preface
Introduction to the Traditional Era (1809-1899):
Chapter One - Lucius O'Brien (1832-1899)
Chapter Two - William McFarlane Notman (1857-1913)
Drawing upon our fascination with self-portraits, The Artist Herself expands the genre’s definition by moving beyond the human face to propose other forms of self-representation, from both settler and Indigenous perspectives. The result is a thought-provoking selection of 55 works by 42 women artists in a range of media, including paintings, textiles, photographs and film. Both renowned and lesser-known artists are featured: Pitseolak Ashoona, Simone Mary Bouchard, Emily Carr, Paraskeva Clark, Martha Eetak, Artis Lane, Caroline Gros Louis, Alice Egan Hagen, Frances Anne Hopkins, E. Pauline Johnson, Maud Lewis, Pegi Nicol MacLeod, Hannah Maynard, Daphne Odjig, Princess Louise, Mary Hiester Reid and Marian Dale Scott. From Johnson’s performance costumes representing her dual Mohawk and Euro-Canadian identity to Carr’s painting of herself from the back at her easel, from Maynard’s playful photographs of her multiple selves to Ashoona’s sly comment on her participation in the Inuit art market, these works open up new avenues of inquiry and new understandings of the realities and perspectives of women in Canadian society before 1970. Most important, the exhibition reveals the ways in which women artists have given profound expression to their identities
Contents
Foreword / Avant-propos -- Lenders / Pre^teurs -- Acknowledgements / Remerciements -- The artist herself = L'artiste elle-me^me / Alicia Boutilier & Tobi Bruce -- Cree dolls / Sherry Farrell Racette -- Elizabeth Simcoe / Erin Wall -- Katherine Jane Ellice / Arlene Gehmacher -- Shanawdithit / Fiona Polack -- Mary Ann Scrimes & Elizabeth Jane Turner / Janice Helland -- Lady Belleau & Lady Glover / Andrea Kunard -- Frances Anne Hopkins & Princess Louise / Kristina Huneault -- E. Pauline Johnson / Carla Taunton -- E. Pauline Johnson / Paula Whitlow -- Hannah Maynard / Jennifer Salahub -- Maud Darling / Jennifer Salahub -- Bertha May Ingle / Mary Thompson & David Beattie -- Mattie Gunterman / Susan Close -- Caroline Gros Louis / Annette de Stecher -- Emily Carr / Lisa Baldiserra -- Martha (Muqyunnik) Eetak / Maureen Matthews -- Marion Long / Janice Anderson -- Margaret Watkins / Mary O'Connor -- Dorothea Mitchell / Kelly Saxberg -- Sylvia Daoust / Joyce Millar -- Paraskeva Clark / Panya Clark -- Pegi Nicol MacLeod / Laura Brandon -- Simone Mary Bouchard / Laurier Lacroix -- Marian Dale Scott / Esther Tre´panier -- Maud Lewis / Erin Morton -- Elizabeth Harrison / Dorothy Farr -- Suzanne Duquet / Miche`le Grandbois -- Artis Lane / Artis Lane -- Molly Lamb Bobak / Amber Lloydlangston -- Cecil Buller / Sandra Dyck -- Jessie Oonark & Inuit Doll / Heather Igloliorte -- Kenojuak Ashevak / Kenojuak Ashevak -- Christiane Pflug / Georgiana Uhlyarik -- Daphne Odjig / Greg Hill -- Margaret Frank & Marion Wilson / Andy Everson -- Pitseolak Ashoona / Norman Vorano -- Exhibition list = Liste des œuvres -- Contributors = Contributeurs.
Notes
Some of the essays are in English, while others are in French
ISBN
9781553394075
Accession Number
2019.46
Call Number
06.1 B66t
Collection
Archives Library
URL Notes
The URL pertains to the website in which the abstract was drawn from