Add to ORKGIn tracing his career in the Toronto art community, Paikowsky points out Rayner's early interest in collage. The constructed paintings of this exhibition, however, are a departure from the large-scale wood constructions and abstract landscape paintings of that early work. These new pieces, produced from 1983 to 1985 are assemblages of found objects unified by layers of paint, of intimate scale and delicate colour. Hans Arp, Jasper Johns and especially Giorgio Morandi are seen as influences. Biographical notes
This retrospective held in the Mondriaanhuis Museum voor Constructieve en Concrete Kunst offered me ...
Documenting the artist's first solo Canadian exhibition, a discussion of Clay's work within 1980's r...
Painting, with its endless capacity for reinvention, continues to occupy a privileged position in We...
Hale attributes Rayner's sense of place in his work from the late 1950s to the earlier 1970s to his ...
Murray outlines Rayner's early career as a commercial artist, his development as an artist and the i...
This exhibition was curated by Terry Jones. It was the first exhibition in which I attempted, in a m...
The paintings reproduced photographically in this thesis and others included in the artists graduate...
This thesis will examine a drawing made for An Exhibition for Modern Living at the Detroit Institute...
For this exhibition catalogue, co-curators J. Nasby and Shuebrook describe the works of six Canadian...
The Haggerty Museum of Art is pleased to present the exhibition Ray Parker Paintings 1958-1971: Colo...
A brief introductory text relates the formal concerns of Smith's abstract landscape paintings dating...
Emery notes Smith's use of color and space, as well as his concern for the forms of nature in works ...
Ring writes a biographical sketch of a long-standing figure in the Saskatoon arts community, Eva Men...
This travelling exhibition was the result of my long interest in re-examining a critical stage of th...
Hopps describes Raynaud's work as a link between modernism and postmodernism, which combines formal ...
This retrospective held in the Mondriaanhuis Museum voor Constructieve en Concrete Kunst offered me ...
Documenting the artist's first solo Canadian exhibition, a discussion of Clay's work within 1980's r...
Painting, with its endless capacity for reinvention, continues to occupy a privileged position in We...
Hale attributes Rayner's sense of place in his work from the late 1950s to the earlier 1970s to his ...
Murray outlines Rayner's early career as a commercial artist, his development as an artist and the i...
This exhibition was curated by Terry Jones. It was the first exhibition in which I attempted, in a m...
The paintings reproduced photographically in this thesis and others included in the artists graduate...
This thesis will examine a drawing made for An Exhibition for Modern Living at the Detroit Institute...
For this exhibition catalogue, co-curators J. Nasby and Shuebrook describe the works of six Canadian...
The Haggerty Museum of Art is pleased to present the exhibition Ray Parker Paintings 1958-1971: Colo...
A brief introductory text relates the formal concerns of Smith's abstract landscape paintings dating...
Emery notes Smith's use of color and space, as well as his concern for the forms of nature in works ...
Ring writes a biographical sketch of a long-standing figure in the Saskatoon arts community, Eva Men...
This travelling exhibition was the result of my long interest in re-examining a critical stage of th...
Hopps describes Raynaud's work as a link between modernism and postmodernism, which combines formal ...
This retrospective held in the Mondriaanhuis Museum voor Constructieve en Concrete Kunst offered me ...
Documenting the artist's first solo Canadian exhibition, a discussion of Clay's work within 1980's r...
Painting, with its endless capacity for reinvention, continues to occupy a privileged position in We...