Tom Smart – författare

Miller Gore Brittain (1912-1968) had an unerring sense of structure and composition. In the early 1930s, at the Art Students' League in New York, he experienced the pivotal moment in American art: the shift from tradition to abstract expressionism. When he returned to Canada, the Group of Seven still defined Canadian art, and he burst upon the scene with emotion-filled drawings and paintings of the human form. Later, combining figuration and abstraction, he explored the limits of the body and the borderlands of sanity to express the depths of despair and the heights of ecstasy.World War II interrupted Brittain's career and on his bombing missions he carried William Blake's Songs of Innocence and Experience with him. Blake's poetry, particularly "The Tyger," inspired the pervasive motif of Brittain's later career. At first a description of searchlights and shot-down aircraft, the star and spear motif later developed into iconic flowers and stems, heads and necks, sunbursts and smoke.In this illuminating and provocative book, Tom Smart examines the sweep of Brittain's work, his progression from social realism to abstraction and surrealism, while Allen Bentley shows the profound influence of Blake's thought in Brittain's painting and drawings.

Dans Miller Brittain : Quand les étoiles jetèrent leurs lances, Tom Smart démontre pour la première fois la cohésion de l'imagerie de Brittain et les liens entre le réalisme social de ses premières œuvres ultérieures, des abstractions figuratives et des compositions d'inspiration surréaliste.Miller Brittain a fait irruption sur la scène artistique canadienne à la fin des années 1930, avec ses dessins et ses peintures du corps humain temples d'émotion et admirablement exécutés. Pendant ses études à l'Art Students League, à New York, il avait intériorisé un point tournant de l'art américain, alors que les modes réalistes traditionnels étaient remis en question par une nouvelle génération d'artistes radicaux selon qui l'art se devait de refléter la vie de l'artiste et les conditions de vie des sujets représentés. À une époque où les paysages du Groupe des Sept dominaient la peinture canadienne, Brittain défia l'establishment avec son sens infallible de la ligne et de la composition, et ses récits humains attrayants. Plus tard, alliant l'art figurative et l'art abstrait, il explora les limites du corps et les confines de la raison afin d'exprimer les profondeurs du désespoir et les sommets de l'extase.Au cours de la Seconde Guerre mondiale, Brittain s'enrôla dans l'Aviation royale du Canada, fut décoré de la Croix du service distingué dans l'Aviation et devint un artiste de guerre canadien. Quand il partait en mission de bombardement, il emportait avec lui un exemplaire des Chants d'expérience, de William Blake. Dans Miller Brittain : Quand les étoiles jetèrent leurs lances, Smart fait voir comment le célèbre poéme « Le tigre », de Blake, inspira le motif omniprésent dans les œuvres de Brittain après la guerre, c'est-à-dire la cominaison de l'étoile et de la lance. Ce qui au départ représentait des faisceaux de projecteurs et des avions abattus devint au fil des années des représentationsiconiques de fleurs et de tiges, de têtes et de cous, de rayons de soleil et de fumée. Allen Bentley appuie les observations de Smart en montrant la profonde influence exercée par les théories de Blake sur l'œuvre de Brittain dans l'après-guerre.

Matérialité et perception dans lart contemporain des provinces atlantiques présente une quarantaine duvres contemporaines réalisées par des artistes canadiens renommés de la région, notamment Freeman Patterson, Gerald Beaulieu, Dawn MacNutt et Alan Syliboy, mais aussi par des artistes émergents comme Emma Hassencahl-Perley, Ursula Johnson et Marie Fox. Leur pratique est ancrée dans des préoccupations actuelles : la fragilité des corps et du territoire, les interactions entre les humains et lenvironnement, les relations entre les Autochtones et les colons ou encore les marqueurs identitaires internes et externes. Les uvres sélectionnées pour lexposition et cette publication bijoux, photographies, pagaies gravées ou installations vidéo sont centrées sur la matérialité des objets eux-mêmes. Elles interpellent le spectateur et linvitent á jeter un autre regard sur le contexte de leur création, á remettre en question ce quil voit et perçoit initialement. Lessai de Tom Smart présente chaque uvre dans son contexte, et traite du rôle du spectateur dans la création de sens et linterprétation des objets dart, tant individuellement quá titre déléments dun ensemble global plus vaste. Matérialité et perception dans lart contemporain des provinces atlantiques accompagne lexposition Marion McCain dart de la région atlantique 2019 présentée á la Galerie dart Beaverbrook.

This riveting inside story of the intense search for the Salt Lake City teenager reveals never-before-told details of the largest investigation in Utah state history. The firsthand account of Tom Smart, Elizabeth''s uncle and one-time suspect, reveals the details of the flawed police investigation, the media''s manipulation of the family, and the eyewitness account of nine-year-old Mary Katherine Smart that went largely ignored by investigators. New research is presented on the family background of disturbed street preacher Brian David Mitchell, who kidnapped Elizabeth as part of a bizarre polygamous plot. Also examined is the critical role of the media, revealing the essential part played by John Walsh and others in facilitating Elizabeth''s safe return, and the manipulative influence of Fox News and Bill O''Reilly. Going beyond a mere eyewitness account, the book includes information culled from interviews with more than 150 people involved in the search and investigation, notes from family meetings, and memos from law enforcement officials.

This riveting inside story of the intense search for the Salt Lake City teenager reveals never-before-told details of the largest investigation in Utah state history. The firsthand account of Tom Smart, Elizabeth''s uncle and one-time suspect, reveals the details of the flawed police investigation, the media''s manipulation of the family, and the eyewitness account of nine-year-old Mary Katherine Smart that went largely ignored by investigators. New research is presented on the family background of disturbed street preacher Brian David Mitchell, who kidnapped Elizabeth as part of a bizarre polygamous plot. Also examined is the critical role of the media, revealing the essential part played by John Walsh and others in facilitating Elizabeth''s safe return, and the manipulative influence of Fox News and Bill O''Reilly. Going beyond a mere eyewitness account, the book includes information culled from interviews with more than 150 people involved in the search and investigation, notes from family meetings, and memos from law enforcement officials.

By the early 1950s, art societies and academies held a tight grip on what could and could not be shown in their annual public exhibitions. Their juries were conservative tastemakers and rabid anti-modernists. Abstract art was rarely selected for display, thus robbing innovative painters of opportunities to have their work seen, reviewed, and purchased. With no outlets to show their art, ambitious, impatient painters sought alternative exhibition venues as a means of advocating for changes in the status quo.In Eleven Painters Start a War, Tom Smart tells the story of the “Painters Eleven,” a group of abstract painters whose anti-establishment ethos was defined by a respect for diversity, creative freedom, abstraction, and contempt for aesthetic complacency. He charts their paths through the 1950s and early 60s as they fight for the acceptance of abstract painting in Canadian art galleries, the critical press, and in the public imagination. Through their interactions and steadfast belief in the promise of abstract art to contribute to a better society, the Painters Eleven managed to change attitudes toward this new way of painting, but not without facing the vitriol of the art establishment who accused them of “starting a war.”

A photographic collection that celebrates the tranquility of winter and the ingenuity of vernacular architecture.From a clear, straight-on vantage point and with a pictorial formality echoing the work of documentary photography pioneers Bernd and Hilla Becher, Richard Johnson (1957–2021) spent more than a decade recording and categorizing visual typologies of small, hand-built structures across Canada.His largest and most celebrated collection of photographs documents ice huts used for fishing across the frozen lakes, bays, and rivers. These huts must be weather-resistant and transportable, giving basic shelter around the opening to the water below. Johnson’s photographs reveal the functional and aesthetic similarities and differences of what he called “renegade architecture”—a form verging on a vernacular folk art tradition.Later in his life, Johnson began documenting Newfoundland’s ubiquitous, earthen-built root cellars. To Johnson, the cellars were place-specific oddities; efficiently constructed and curiously anthropomorphic. They also fit conceptually into his lifelong fascination with small structures built out of necessity and usually by hand.More than 200 photographs from these series are complemented by texts from acclaimed photographer and filmmaker Edward Burtynsky and curator Tom Smart that contextualize Johnson’s photographs and place his work among the contemporary disciples of the Bechers' Düsseldorf School. A personal text by Johnson’s long-time partner, Lucie Bergeron-Johnson, provides an intimate portrait of the artist, and chronicles his journey to the discovery of his subject matter and the development of his signature style.