Robin Laurence - Böcker
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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.
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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.