Add to ORKGWilkin discusses the influence of cubist collage on the material and visual concerns of 20th century sculpture and outlines how 11 Canadian artists address these concerns on their work. Biographical notes
While briefly discussing the work of the five sculptors, Westra emphasizes the importance of materia...
LaRue discusses the ideas of region, isolation and originality underlying the exhibition. The curato...
Elders situates the turn to figurative painting in the early 1980s within the history of 20th centur...
Wilkin outlines the history and objectives of the Westburne corporation's collection of contemporary...
Defining the art of the 20th century as the art of the new, Aarons accounts for nine young Canadian ...
Milrod notes the popularity of Halifax artists, citing several Canadian exhibitions from 1980. Biogr...
Wilkin discerns evidence of an emerging Toronto style in her discussion of the formal aspects of pai...
In a brief statement, Wilkin traces the artist's development and links his paintings and collages to...
Martin considers the conditions of painting, intention and meaning in his work. Saxe defines his pro...
Nasgaard notes some of the problematics of identifying a specifically Canadian art in his discussion...
Referring to fragmentation, representation, memory, and site, Jenkner analyzes the work of 12 Canadi...
Defining Burgess' work as abstract constructed sculpture, Wilkin describes how the artist's recent w...
Boyanoski provides an indepth examination of the life and work of Loring (1887-1968) and Wyle (1881-...
Fraser stresses the political relevance and spiritualism of outdoor, site-related, installation work...
Madill traces modern sculpture's move away from narrative associations and its ensuing emphasis on f...
While briefly discussing the work of the five sculptors, Westra emphasizes the importance of materia...
LaRue discusses the ideas of region, isolation and originality underlying the exhibition. The curato...
Elders situates the turn to figurative painting in the early 1980s within the history of 20th centur...
Wilkin outlines the history and objectives of the Westburne corporation's collection of contemporary...
Defining the art of the 20th century as the art of the new, Aarons accounts for nine young Canadian ...
Milrod notes the popularity of Halifax artists, citing several Canadian exhibitions from 1980. Biogr...
Wilkin discerns evidence of an emerging Toronto style in her discussion of the formal aspects of pai...
In a brief statement, Wilkin traces the artist's development and links his paintings and collages to...
Martin considers the conditions of painting, intention and meaning in his work. Saxe defines his pro...
Nasgaard notes some of the problematics of identifying a specifically Canadian art in his discussion...
Referring to fragmentation, representation, memory, and site, Jenkner analyzes the work of 12 Canadi...
Defining Burgess' work as abstract constructed sculpture, Wilkin describes how the artist's recent w...
Boyanoski provides an indepth examination of the life and work of Loring (1887-1968) and Wyle (1881-...
Fraser stresses the political relevance and spiritualism of outdoor, site-related, installation work...
Madill traces modern sculpture's move away from narrative associations and its ensuing emphasis on f...
While briefly discussing the work of the five sculptors, Westra emphasizes the importance of materia...
LaRue discusses the ideas of region, isolation and originality underlying the exhibition. The curato...
Elders situates the turn to figurative painting in the early 1980s within the history of 20th centur...