Search results for ""Beaverbrook Art Gallery""

Shortlisted, Best Atlantic Published Book Award and Canadian Regional Design AwardA major publication comprising 240 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition Masterworks from the Beaverbrook Art Gallery. Along with a complete catalogue of artworks, it features an overview and history of the historic collection, along with curatorial commentary on each work of art by the Beaverbrook Art Gallery's Curator and Deputy Director, and curator of the exhibition, Terry Graff. Further, it includes important essays by five internationally respected art historians, scholars, and curators, Elliot King, James Hamilton, Richard Calvocoressi, Angus Stewart, and Katharine Eustace, that focus on several key works of art.In addition, Bernard Riordon, Director and CEO of the Beaverbrook Art Gallery, provides a foreword and timely essay documenting the recently resolved legal battle with the Beaverbrook Foundation (UK) over ownership of several works. Elliot King, art historian and leading specialist on the work of Salvador Dalí and curator of the recent exhibition Dalí: The Late Work at the High Museum of Art, examines Dalí's monumental painting Santiago El Grande. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's Fountain of Indolence. Richard Calvocoressi, Director of the Henry Moore Foundation and former Director of the Scottish National Gallery of Modern Art in Edinburgh, provides special insight into Lucien Freud's Hotel Bedroom. Angus Stewart, independent curator known for his many exhibitions at the Olympia London fine art and antiques fair, including the major 2003 project that marked the centenary of artist Graham Sutherland's birth, examines important Sutherland works, such as Helena Rubinstein, Studies for Churchill, and Portrait of Lord Beaverbrook. Katharine Eustace, art historian and curator, whose publications include Continuity and Change: Twentieth Century Sculpture in the Ashmolean Museum, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as H.M. King Edward VIII.

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Shortlisted, Best Atlantic Published Book Award and Canadian Regional Design AwardA major publication comprising 256 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition Masterworks from the Beaverbrook Art Gallery.Along with a complete catalogue of artworks, it features an overview and history of the historic collection, along with curatorial commentary on each work of art by the Beaverbrook Art Gallery's Curator and Deputy Director, and curator of the exhibition, Terry Graff. Further, it includes important essays by five internationally respected art historians, scholars, and curators, Elliot King, James Hamilton, Richard Calvocoressi, Angus Stewart, and Katharine Eustace, that focus on several key works of art. In addition, Bernard Riordon, Director and CEO of the Beaverbrook Art Gallery, provides a foreword and timely essay documenting the recently resolved legal battle with the Beaverbrook Foundation (UK) over ownership of several works. Elliot King, art historian and leading specialist on the work of Salvador Dalí and curator of the recent exhibition Dalí: The Late Work at the High Museum of Art, examines Dalí's monumental painting Santiago El Grande. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's Fountain of Indolence. Richard Calvocoressi, Director of the Henry Moore Foundation and former Director of the Scottish National Gallery of Modern Art in Edinburgh, provides special insight into Lucien Freud's Hotel Bedroom. Angus Stewart, independent curator known for his many exhibitions at the Olympia London fine art and antiques fair, including the major 2003 project that marked the centenary of artist Graham Sutherland's birth, examines important Sutherland works, such as Helena Rubinstein, Studies for Churchill, and Portrait of Lord Beaverbrook. Katharine Eustace, art historian and curator, whose publications include Continuity and Change: Twentieth Century Sculpture in the Ashmolean Museum, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as H.M. King Edward VIII.Proof copies of 200-copy special edition of Masterworks of Beaverbrook Art Gallery. These proof copies (of which there are only 12) are presented in an an embossed paper-covered slipcase. Each copy includes is signed by the Director and Director Emeritus of the Beaverbrook Art Gallery. Sewn-bound with marbled endpapers, a marker ribbon, and including an artist proof of a limited edition of a portrait of Lord Beaverbrook by Graham Sutherland, this edition is designed as a keepsake for future generations.

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A CBC New Brunswick Book List Selection"I start with an original object, break it, and transform parts of the piece into other materials. These pieces gather meaning and explanation as I work with them."Peter Powning is simultaneously referred to as a sculptor and a ceramist, but his art does not fit easy categorization, incorporating and combining elements from one medium into another. His work challenges the viewer to reconsider the object, its form, and its function. This inventiveness has resulted in numerous exhibitions, awards, and commissions for public art sculptures throughout Canada.Featuring 175 full-colour images of Powning’s work along with essays by curators and critics, Peter Powning celebrates the career of one of Canada’s finest visual artists and accompanies a major retrospective exhibition organized by the Beaverbrook Art Gallery.

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A CBC New Brunswick Book List Selection"The same stage, but different actors," explains Wilson. "There is something interesting to me about separating people from their environment, about keeping the focus on the individual."James Wilson’s studio portraits capture subjects from all walks of life. They document soldiers and street people, builders and bakers, artists and labourers. There is an intimate intensity in his photographs, which together form a timeless collage of life and faces from the early twenty-first century.Wilson’s portraits are also the product of a purposeful gaze, distinctive observations in black-and-white. All window-lit, all photographed in his studio, all with the same black background, these photographic portraits open a door into the worlds and at times the unguarded emotions of the individual subjects.James Wilson: Social Studies accompanies an exhibition that will open at the Beaverbrook Art Gallery in Fredericton, NB, in June 2020.

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The art of Donald Andrus defies categorization. Although principally known for his abstract paintings, Andrus has, throughout his career, combined his first love — drawing — with a deep engagement with colour, a desire for experimentation, a keen interest in the physical qualities of his materials, and the sensory experience of the viewer. Donald Andrus: The Shape of Desire brings together four major essays, including one by the artist, and more than eighty full-colour reproductions to assess a body of work that extends from abstract paintings to portraits. Roslyn Rosenfeld writes about Andrus’s early abstract work, Ihor Holubizky considers Andrus’s portraits, and Pan Wendt revisits Andrus’s contemporary abstract paintings. Taken together, the essays and images take full measure of the entirety of Andrus’s career and influences — from the landscapes of Greece and the poetry of George Seferis to the cinematic works of Andrei Tarkovsky and the pioneering work of contemporary German artists Gerhard Richter and Anselm Kiefer. Donald Andrus has been painting for over thirty-five years. His work has been exhibited at galleries and museums throughout Canada and may be found in both private and public collections. He has previously worked as a curator at the Beaverbrook Art Gallery, as a lecturer at the University of New Brunswick, and as a professor of art history at Concordia University. Andrus now lives and works in Charlottetown, Prince Edward Island.

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“Ink and paper are my muses. Using hand press printing and printers’ ink to create original prints has absorbed me for the last 47 years. I love the qualities of all papers, especially fine rag papers and washi papers. Their tactile and soft surfaces beg to receive ink and I am always happy to oblige them.” — George A. Walker. George A. Walker is one of the world’s foremost woodcut artists. Over the past 40 years Walker has created more than 1,000 wood engravings to illustrate seven wordless books and countless prints covering subjects ranging from literary works to half-remembered dreams, to historical figures and events. Ink & Paper is a collection of the best of Walker’s work from the 1970s to the present. The book is a complete survey of his career, with over 250 prints — including many from his wordless novels about important figures in art, politics and history — as well as photos of Walker’s handmade limited edition books. Each carefully selected image, complete in itself, is paired on the facing page with a complementary image that enhances the visual experience. Ink & Paper is capped with an afterword by Tom Smart, curator, essayist and director of the Beaverbrook Art Gallery. Walker attributes his fascination with woodcuts and their use in wordless novels to attending an exhibition featuring the work of Frans Masereel, the first master of the wordless novel. After the exhibition he began an obsessive pursuit to find books illustrated with woodcuts, wood engravings and linocuts, and to learn everything he could about fine art printmaking and the art of wood engraving. The result of that obsession is a four-decade career and an astounding body of work — celebrated here for the first time in this gorgeous retrospective.

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Winner, Canadian Museums Association Award for Outstanding Achievement (Research) and APMA Best Atlantic-Published Book AwardLonglisted, First Nation Communities READ AwardThe story of an overlooked group of cultural visionariesThe “Micmac Indian Craftsmen” of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions — including at Expo 67 — and their designs were featured on prints, silkscreened notecards, jewelry, tapestries, and even English porcelain.Primarily self-taught and deeply rooted in their community, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent.By 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this groundbreaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, Wabanaki Modern features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.Wla atukuaqn na ujit ta'nik mu ewi'tamuki'k tetuji kelulkɨpp ta'n teli amaliteka'tijik Wla “Mi'kmewaqq L'nue'k amaliteka'tijik” tlo'ltijik Elsipogtog (amskweseweyekk i'tlui'tasikɨpp Big Cove) poqji wuli nenupnikk wla amaliteka'tijik 1960ekk. Je wekaw wutlukowaqnmuwow ika'tasikɨpp wikatikniktuk aqq ne'yo'tasikɨpp ta'n pukwelk ta'n wen nmitew — je wekaw Expo 67 — aqq ta'n koqoey kisi napui'kmi'tipp tampasɨk koqoey eweketu'tij stike' l'taqnewi'kasik, napui'kn misekn, wi'katikne'ji'jk, meko'tikl kuntal, kaqapitkl l'taqa'teke'l, aqq wekaw akalasie'we'k eptaqnk. Nekmow na kekina'masultijik aqq melki knukwi'tij ta'n tett telayawultijik, nekmow na amskewsewa'jewaqq l'nu'k tel nenujik ujit ta'n teli amaliteka'tijik ujit Atlantic Canada. Pema'lkwi'titl a'tukuaqnn ta'n sa'qewe'l, ta'n wejiaqel a'tukuaqnn Wabanaki, l'tu'tipp kaqasi milamu'k koqowey toqo eweketu'titl wutpitnual tetuji moqɨtekl, ma'muntekl, aqq weltekl.Wekaw 1966ekk, kpno'l pun apoqnmuapni wla amaliteka'tikete'jɨk jel kaqnma'tijik ta'n koqoey nuta'tipp, amuj pana pun lukutipnikk, aqq tel awantasuwalutki'k. Nike', amskwesewey, wla a'tukuaqn tetuji msɨki'kɨpp wla wut lukewaqnmuwow etel kaqi a'tukwasikk. Wije'tew meski'k neya'tmk Beaverbrook Art Gallery pana'siktetew 2022al, Wabanaki Modern na pema'toql wikikaqnn ujit ta'n pemiaqɨpp wla tetuji wulamu'kɨpp kisitaqnne'l telukutijik, maskutekl sa'qewe'l napuikasikl toqo nemu'jik etl-lukutijik wla lukewinu'k, aqq sikte wultek aqq welamu'k ta'n koqoey kisitu'tij.L'histoire d'un groupe de visionnaires culturels ignorésUn groupe d'artisans mi'kmaw d'Elsipogtog (autrefois Big Cove) au Nouveau-Brunswick se fit connaître à travers le Canada au début des années 1960. À l'apogée de leur renommée, les Micmac Indian Craftsmen firent l'objet d'articles dans des publications d'un océan à l'autre. Leur travail figura dans des livres et des expositions — dont Expo 67 à Montréal — et leurs œuvres graphiques furent reproduites sous forme de gravures et de sérigraphies, et elles ornèrent de la papeterie, des bijoux, des tapisseries et même de la porcelaine anglaise.En grande partie autodidactes et solidement enracinés dans leur communauté, les Micmac Indian Craftsmen furent parmi les premiers artistes autochtones modernes au Canada atlantique. En s'inspirant de récits traditionnels wabanakis, ils fabriquaient à la main une gamme variée d'objets raffinés, évocateurs et porteurs d'un sens profond.En 1966, toutefois, le gouvernement retira son soutien. Les Craftsmen perdirent leur financement, la production cessa peu après et leur œuvre finit par être oubliée. Une nouvelle publication relate maintenant, pour la première fois, l'histoire complète de cette coopérative innovatrice et de ses réalisations. Publié dans le cadre d'une grande exposition qui a lieu à la Galerie d'art Beaverbrook en 2022, Wabanaki Moderne comprend des textes sur l'histoire de cet atelier dynamique, des photographies d'archives des artisans et de superbes illustrations couleur de leurs œuvres.

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"... I was able to make a simple gesture which left no permanent mark on the land."In 1979 Marlene Creates signaled her intent. In contrast to the monumental earthworks of that time, she revealed that her interest in the intersection of art and the natural world was with the ephemeral, the small scale, and the non-monumental, and with place, "not as a geographical location," she writes, "but as a process that involves memory, multiple narratives, ecology, language, and both scientific and vernacular knowledge." Supplementing the impermanence of her artistic gestures with the technology of photography, Creates found an audience and created a body of work without peer.Creates has sensitvely probed the relationship between human experience and the natural world for almost four decades. From her early works that record traces of the human body on the land to her later explorations of poetry in situ in the boreal forest and photography as an active medium — where the rush of water over the lens transforms the artist's own image — Creates leads us with an environmental and cultural consciousness to a greater understanding of the language of the natural world and our "places" in it.It is no easy task to sum up, in a single book, a career that privileges the act over the artifact, the moment over the monument. But under the direction of curator-critics Susan Gibson Garvey and Andrea Kunard, Marlene Creates: Places, Paths, and Pauses offers not only a broad view of her work in photography but also a critical appreciation of her multi-disciplinary approach (assemblages, memory-map drawings, and video-poems) through essays by Gibson Garvey and Kunard, art historian Joan M. Schwartz, nature writer Robert Macfarlane, and poet Don McKay.Marlene Creates: Places, Paths, and Pauses accompanies a major retrospective touring exhibition organized by the Beaverbrook Art Gallery in partnership with the Dalhousie Art Gallery. It will open in Fredericton in September 2017 and thereafter will be shown at galleries in Halifax, Charlottetown, St. John's, and other venues in central and western Canada.

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