Search results for ""Author Ihor Holubizky""

Ken Danby (1940-2007) was one of Canada's foremost practitioners of contemporary realism. Rooted in the Canadian psyche, nourished by his Ontario rural roots, Danby's subject matter was broad and expansive, yet it was the images of Canadian landscapes and life that captured the public's attention. At the Crease, a 1972 egg tempera painting depicting a nameless hockey goalie viewed from ice-level, was his best-known work, and for many, it defined him as an artist. An accomplished painter, watercolourist, printmaker, and commercial artist, Danby's career began to unfold with a modernist narrative in the 1960s and 1970s. It intersected with the fervent nationalism expressed in the music of Ian and Sylvia Tyson, Gordon Lightfoot, and Joni Mitchell. According to art historian Patrick Hutchings, Danby's paintings bring us "face to face with a moment of our own time." Ken Danby: Beyond the Crease, the first major book on Ken Danby's creative practise in two decades, examines the depth and breadth of Danby's work. Designed to accompany a major retrospective exhibition organized by the Art Gallery of Hamilton, it features an essay by art historian Ihor Holubizky, a detailed chronology by Christine Braun, more than sixty reproductions of Danbys major paintings, including At the Crease, Lacing Up, Pancho, and Pulling Out, and dozens of archival photographs, as well as Danby's own words about his life and work drawn from an unpublished autobiographical essay that he completed shortly before his death. Danby's work is highly collectable and can be found in numerous private and public collections, including those of the Museum of Modern Art, New York; the National Gallery of Canada; the Musée des beaux arts, Montreal; the Art Gallery of Vancouver; the Art Institute of Chicago; and the Brooklyn Museum. Ken Danby became a member of the Order of Canada in 2001.

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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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