Bøger udgivet af FIGURE 1 PUB

Into the Light: The Art of Lionel LeMoine FitzGerald, is a comprehensive and diverse examination of the impact and lasting influence of Lionel LeMoine FitzGerald, the last member of the Group of Seven, joining in 1932, and the only member to live in western Canada. Co-curated by Sarah Milroy, Chief Curator and Ian A.C. Dejardin, Executive Director of the McMichael Canadian Art Collection, the exhibition will present more than 200 paintings, drawings and prints, in partnership with the Winnipeg Art Gallery. This scholarly publication will examine the artists' practice and inspirations through a selection of the exhibition works and essay contributions by the curators, Winnipeg Art Gallery Chief Curator Andrew Kear, artists Pierre Dorion, Robert Houle and Wanda Koop, writer Robert Enright and prominent Canadian art historians Michael Parke-Taylor and Dr. Oliver A.I. Botar.

This edition, which accompanies an exhibition at the Vancouver Art Gallery, is a beautifully illustrated retrospective of nearly four decades of Alexander's work. From the exaggerated architecture of Versailles, Disneyland and the West Edmonton Mall, to the use of idyllic "natural" settings and the skin-deep beauty of fashion models, she unravels the mechanisms of display that shape meaning and desire in culture.

Yes Yes We're Magicians is a compilation of anonymous, vintage black-and-white photographs mostly found on eBay from the personal collection of the Canadian artist, collector and writer Jonah Samson. Titled after a line from Samuel Beckett’s play, “Waiting for Godot”, the dominant mood of the book recalls Beckett’s take on human existence as tragicomic. Samson, too, reflects on the absurdity of life through slapstick and dark humor, and a warmhearted affection for the mysteries of human gestures. Involved in all aspects of making the book, Samson has created a carefully orchestrated narrative flow between various kinds of vernacular photographs. Whether a blurry snapshot or a formal portrait, the images draw out the uncanny and magical qualities of photographs. Free of any description, the compelling pictures are allowed to speak for themselves. They are often imperfect, with figures disappearing into misty and watery surfaces, and the details of time and place becoming obscured. Establishing the mood at the beginning with a mysterious color photograph of an erupting volcano, the book interweaves forgotten moments from the past where incidents of the celebratory, melancholic, surreal and bizarre are put into dialogue. As an artist who often reworks found photographs, Jonah Samson brings a distinctive sensibility to this book and treats the form as an artwork in itself.

"Twice a year, in summer and in winter, appointments to the Order of Canada are posted in newspapers across the country. The range of professions represented are often dizzying, but there are common themes in the choices: excellence, service to the nation, passion, innovation, commitment, dedication, brilliance. The order's motto effectively captures the generous and selfless spirit of these people: Desiderantes meliorem patriam-they desire a better country. The Order of Canada-our nation's highest honour-was launched fifty years ago in 1967 by Prime Minister Lester B. Pearson. Since then, almost seven thousand Canadians have received the award for service to their communities, the nation, and, in some cases, the world. To celebrate the Order of Canada's fiftieth anniversary in 2017, the Rideau Hall Foundation commissioned this exceptional book with the aim of encouraging Canadians to learn about some of the remarkable individuals who have garnered this prestigious award. And though this book captures only a handful of their stories, it is a reflection of the inspiration all Order of Canada members bestow upon us."--

In 1911, Emily Carr returned from a sixteen-month trip to France with a new understanding of French Modernism and a radically transformed painting style, one that broke free from the artistic shackles of her conservative training and embraced a new means of expression. Her studio experiences in Paris, her en plein-air painting in the French countryside, and her encounters with such artists as expatriate English painter William Henry Phelan Gibb, Scottish painter John Duncan Fergusson, and New Zealand watercolourist Frances Hodgkins had a profound impact on her work.Emily Carr: Fresh Seeing focuses on the dramatic changes in her painting style, showcasing the paintings, drawings, and watercolours that she produced in France, as well as the works she created upon her return to the West Coast of Canada in 1912. The text of her 1930 speech ¿Fresh Seeing,¿ in which Carr sought to explain Modern art to her baffled public, is included alongside an essay by writer and critic Robin Laurence. Also featured are essays by Carr scholar Kathryn Bridge, who examines the artist¿s travels and studies with post-Impressionist artists in Paris, Crécy-en-Brie, St. Efflam, and Concarneau; collector Michael Polay, who details the inclusion of two of Carr¿s paintings in the famed Salon d¿Automne alongside pieces by Marcel Duchamp, Pierre Bonnard, and many other internationally renowned artists; and the Audain Art Museum¿s Gail and Stephen A. Jarislowsky Curator, Kiriko Watanabe, who recounts Carr¿s return to the West Coast and the paintings that resulted from her ambitious sketching expeditions to the Upper Skeena River, Haida Gwaii, and Alert Bay in the summer of 1912.

Glory and Exile: Haida History Robes of Jut-ke-Nay Hazel Wilson marks the first time this monumental cycle of ceremonial robes by the Haida artist Jut-Ke-Nay (The One People Speak Of)—also known as Hazel Anna Wilson—is viewable in its entirety. On 51 large blankets, Wilson uses painted and appliquéd imagery to combine traditional stories, autobiography, and commentary on events such as smallpox epidemics and environmental destruction into a grand narrative that celebrates the resistance and survival of the Haida people, while challenging the colonial histories of the Northwest Coast.Of the countless robes Wilson created over fifty-plus years, she is perhaps best known for The Story of K’iid K’iyaas, a series about the revered tree made famous by John Vaillant’s 2005 book The Golden Spruce. But her largest and most important work is the untitled series of blankets featured here. Wilson always saw these works as public art, to be widely seen and, importantly, understood. In addition to essays by Robert Kardosh and Robin Laurence, the volume features texts about each robe by Wilson herself; her words amplify the power of her striking imagery by offering historical and personal context for the people, characters, and places that live within her colossal work. Glory and Exile, which also features personal recollections by Wilson’s daughter Kūn Jaad Dana Simeon, her brother Allan Wilson, and Haida curator and artist Nika Collison, is a fitting tribute to the breathtaking achievements of an artist whose vision will help Haida knowledge persist for many generations to come.