Georgiana Uhlyarik – författare

A bold and richly illustrated survey of the traditions and stylistic evolution of landscape painting in the Americas

A new look at the art of one of the most charming and idiosyncratic personalities of early 20th-century New YorkFlorine Stettheimer (1871–1944) was a New York original: a society lady who hosted an avant-garde salon in her Manhattan home, a bohemian and a flapper, a poet, a theater designer, and above all an influential painter with a sharp satirical wit. Stettheimer collaborated with Gertrude Stein and Virgil Thomson, befriended (and took French lessons from) Marcel Duchamp, and was a member of Alfred Stieglitz and Georgia O’Keeffe’s artistic and intellectual circle. Beautifully illustrated with 150 color images, including the majority of the artist’s extant paintings, as well as drawings, theater designs, and ephemera, this volume also highlights Stettheimer’s poetry and gives her a long overdue critical reassessment.   The essays published here—as well as a roundtable discussion by seven leading contemporary female artists—overturn the traditional perception of Stettheimer as an artist of mere novelties. Her work is linked not only to American modernism and the New York bohemian scene before World War II but also to a range of art practices active today. Flamboyant and epicurean, she was an astute documenter of New York and parodist of her social milieu; her highly decorative scenes borrowed from Surrealism and contributed to the beginnings of a feminist aesthetic.Published in association with the Jewish Museum, New York, and the Art Gallery of Ontario  Exhibition Schedule:The Jewish Museum, New York(05/05/17–09/24/17)Art Gallery of Ontario(10/21/17–01/28/18)

Two generations of Inuit artists challenging the parameters of tradition.Kenojuak Ashevak shot to fame in 1970 when Canada Post printed The Enchanted Owl, a print of a black-and-red plumed nocturnal bird, on a postage stamp. She later became known as the magic-marker-wielding "grandmother of Inuit art," famous for her fluid graphic storytelling and her stunning depictions of wildlife. She was a defining figure in Inuit art and one of the first Indigenous artists to be embraced as a contemporary Canadian artist.Ashevak's legacy inspired her nephew, Timootee (Tim) Pitsiulak, to take up drawing at the Kinngait Studios. In his relatively short career, he became a popular figure, known for drawing animal figures with a hunter's precision and capturing the technological presence of the South in Nunavut.Tunirrusiangit, "their gifts" or "what they gave" in Inuktitut, celebrates the achievements of two remarkable artists who challenged the parameters of tradition while consistently articulating a compelling vision of the Inuit world view. Published to coincide with a major exhibition at the Art Gallery of Ontario, opening on 16 June and continuing until late August, Tunirrusiangit features more than 60 reproductions of paintings, drawings, and documentary photographs. Completing the book are essays by contemporary artists and curators Jocelyn Piirainen, Anna Hudson, Georgiana Uhlyarik, Koomuatuk Curley, Laakkuluk Williamson Bathory, and Taqralik Partridge that address both the past and future of Inuit identity.

Winner, Toronto Book AwardsMoving the Museum documents the reopening of the J.S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO’s Indigenous art collection. The volume reflects the nation-to-nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history and colonialism.Lavishly illustrated with more than 100 reproductions, Moving the Museum: Indigenous + Canadian Art at the AGO features the work of First Nations artists — including Carl Beam, Rebecca Belmore, and Kent Monkman — along with work by Inuit artists like Shuvinai Ashoona and Annie Pootoogook. Canadian artists include Lawren Harris, Kazuo Nakamura, Joyce Wieland, and many others. Drawing from stories about our origins and identities, the featured artists and essayists invite readers to engage with issues of land, water, transformation, and sovereignty and to contemplate the historic and future representation of Indigenous and Canadian art in museums.

“[I] reject[ed] the idea that painting is autonomous, contained only within its four corners. I realized that painting has to interact with, and is always affected by, the space it is in.” — Jinny Yu JINNY YU: AT ONCE surveys artist Jinny Yu’s last decade of production, from her exhibition at the Venice Biennale Don’t They Ever Stop Migrating? to Inextricably Ours, her recent kaleidoscopically abstract paintings. Using methods as diverse as abstract painting and large-scale installation, Yu’s art ponders the implications of mass migration and rapid social change in contemporary society. In Perpetual Guest, Yu interrogates her status as a settler-immigrant; in Hôte, she navigates the relationship between guest and host through a series of black-and-white abstract drawings that resemble thresholds; in Inextricably Ours, Yu breaks from her previous work, using vivid colours, transparency, and distorted forms to continue to question what it means to be a guest and a host. Jinny Yu’s work explores the role of painting as a means of trying to understand the world around us. Born in Seoul, Yu now lives and works in Ottawa on the traditional unceded territory of the Anishinaabe Algonquin Nation, and in Berlin. Yu’s work has been shown widely in exhibitions in Canada, Germany, Italy, Japan, Portugal, South Korea, the UK, and the US. Her exhibition, Don’t They Ever Stop Migrating?, was presented at the 56th Venice Biennale.«J'ai rejeté l'idée que la peinture est autonome, c’est à dire qu’elle soit contenue uniquement dans ses quatre coins. J'ai réalisé que la peinture doit interagir avec et est toujours influencée par l'espace dans lequel elle se trouve.» — Jinny Yu JINNY YU : À LA FOIS explore la dernière décennie de la production de l'artiste Jinny Yu, depuis son exposition à la Biennale de Venise intitulée Don't They Ever Stop Migrating? jusqu’à Inextricably Ours, ses récentes peintures kaléidoscopiques abstraites. Utilisant des méthodes aussi diverses que la peinture abstraite et l'installation à grande échelle, l'art de Yu réfléchit aux implications de la migration de masse et aux changements sociaux rapides dans la société contemporaine. Dans Perpetual Guest, Yu interroge son statut en tant que colon-immigrant ; dans Hôte, elle explore la relation entre l'invité (guest) et l'hôte (host) à travers une série de dessins abstraits en noir et blanc évoquant des seuils ; dans Inextricably Ours, Yu rompt avec son œuvre précédente en utilisant des couleurs vives, la transparence et des formes distordues pour poursuivre son questionnement sur le sens des notions d'invité et d'hôte. Le travail de Jinny Yu émane d'une interrogation sur le médium de la peinture comme moyen de comprendre le monde qui nous entoure. Née à Séoul, Yu vit et travaille maintenant à Ottawa, sur le territoire traditionnel non cédé de la Nation Anishinabe Algonquine, et à Berlin. Les œuvres de Yu ont été largement exposées au Canada, en Allemagne, en Italie, au Japon, au Portugal, en Corée du Sud, au Royaume-Uni et aux États-Unis. Son exposition, Don't They Ever Stop Migrating?, a été présentée à la 56e Biennale de Venise.

Bold, audacious, and colourful, Joyce Wieland was the first woman living artist to have a solo exhibition at both the National Gallery of Canada and the Art Gallery of Ontario. She was a major figure in the avant-garde film scene of the 1960s and '70s, and together with Michael Snow, she was one of the founders of Canadian experimental cinema. Her work left an indelible mark on Canadian art. Joyce Wieland: Heart On is the first publication to offer a comprehensive view of Wieland’s multifaceted career as a painter, experimental filmmaker, and cultural activist. Using her seductive wit as a powerful tool of social and political critique, Wieland embedded disruptive and unexpected elements and imagery in her work with compelling effect. Richly illustrated with over 250 reproductions, Joyce Wieland: Heart On includes texts by curators, scholars, and artists, as well as personal reflections from Wieland’s friends and collaborators. Archival materials, an extensive chronology, and passages from Wieland’s own writings offer a new understanding of the artist’s extraordinary career and the social and political context in which she was creating.

Déterminée, audacieuse, colorée, Joyce Wieland a été la première femme artiste à exposer en solo de son vivant au Musée des beaux-arts du Canada et au Musée des beaux-arts de l’Ontario. Grande figure du cinéma d’avant-garde dans les années 1960 et 1970, elle a, avec Michael Snow, mis au monde le cinéma expérimental canadien. Son œuvre a laissé une empreinte indélébile sur l’art du Canada. Joyce Wieland : À cœur battant est la première publication qui présente de manière exhaustive les multiples facettes d’une carrière qui embrasse la peinture, le cinéma expérimental et l’activisme culturel. Forte d’une vivacité d’esprit engageante comme puissant instrument de critique sociale et politique, Joyce Wieland infuse ses œuvres d’éléments dérangeants et inattendus, pour un effet implacable. Somptueusement illustré de plus de 250 reproductions, Joyce Wieland : À cœur battant est riche de textes éclairants de conservateurs, d’universitaires et d’artistes, ainsi que de réflexions personnelles d’amis et de collaborateurs de Wieland. Des documents d’archives, une chronologie détaillée et des extraits des propres écrits de Joyce Wieland montrent sous de nouveaux angles l’extraordinaire carrière de l’artiste et le contexte sociopolitique dans lequel son art s’est épanoui.