Add to ORKGRinder describes Canadian-born Martin's recent formalist paintings. Richmond's essay fuses elements from Martin's biography with her development as an artist, especially her return to painting after several years away from art. Biographical notes. 6 bibl. ref
Metcalfe's extended essay embraces a wide range of sources and subjects, and amounts to a rumination...
Koehler-Vandergraaf assesses Zwicker's long career as an artist in Nova Scotia by examining watercol...
The painter Agnes Martin (1912-2004) loathed overly intellectual readings of her work. Her statement...
Rinder describes Canadian-born Martin's recent formalist paintings. Richmond's essay fuses elements ...
Martin considers the conditions of painting, intention and meaning in his work. Saxe defines his pro...
Holubizky’s essay situates Ritchie’s work in the context of Canadian art history, examining her infl...
Comparing Stewart's work to that of other women artists of the region and period, Bell's historical ...
Includes a revisionist essay which positions Munn and Taçon into the context of a Canadian art histo...
Legge examines each artist's work, focusing on their use of painting to produce imaginative and surr...
Meadowcroft's biographical essay on painter Savage highlights the particular difficulties associated...
Ottawa artist Davison began painting in 1962, coming from a background in theatre. Her work incorpor...
Hoover considers the use of toxic materials in Martin’s previous work, and relates it to his new ser...
Klepac investigates transformations in Martin's work between 1969 and 1992, discussing painting seri...
Richmond focuses on how Cuthand incorporates her native cultural heritage into her paintings. Biogra...
Analyzing photographic work by two Canadian artists, Sloane identifies Robins' questioning on the st...
Metcalfe's extended essay embraces a wide range of sources and subjects, and amounts to a rumination...
Koehler-Vandergraaf assesses Zwicker's long career as an artist in Nova Scotia by examining watercol...
The painter Agnes Martin (1912-2004) loathed overly intellectual readings of her work. Her statement...
Rinder describes Canadian-born Martin's recent formalist paintings. Richmond's essay fuses elements ...
Martin considers the conditions of painting, intention and meaning in his work. Saxe defines his pro...
Holubizky’s essay situates Ritchie’s work in the context of Canadian art history, examining her infl...
Comparing Stewart's work to that of other women artists of the region and period, Bell's historical ...
Includes a revisionist essay which positions Munn and Taçon into the context of a Canadian art histo...
Legge examines each artist's work, focusing on their use of painting to produce imaginative and surr...
Meadowcroft's biographical essay on painter Savage highlights the particular difficulties associated...
Ottawa artist Davison began painting in 1962, coming from a background in theatre. Her work incorpor...
Hoover considers the use of toxic materials in Martin’s previous work, and relates it to his new ser...
Klepac investigates transformations in Martin's work between 1969 and 1992, discussing painting seri...
Richmond focuses on how Cuthand incorporates her native cultural heritage into her paintings. Biogra...
Analyzing photographic work by two Canadian artists, Sloane identifies Robins' questioning on the st...
Metcalfe's extended essay embraces a wide range of sources and subjects, and amounts to a rumination...
Koehler-Vandergraaf assesses Zwicker's long career as an artist in Nova Scotia by examining watercol...
The painter Agnes Martin (1912-2004) loathed overly intellectual readings of her work. Her statement...