Hamilton Now: Subject / Object

Mosaic Press
Free sample

Hamilton Now - Subject / Object is the stunning exhibition accompanying a two-part exhibition at the Art Gallery of Hamilton in 2018 / 2019 edited by AGH curator Melissa Bennett. Hamilton Now comments on the exploding art scene in this burgeoning Ontario city through stunning images from 17 of the city's contemporary artists. The work of artists in this two part-exhibition explores current cultural issues such as identity and materiality. Race issues, queer identity, family history, virtual reality, digital interventions, and philosophical meanderings are all part of this visually stunning collection of works by mostly under known emerging and established artists.
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About the author

Melissa Bennett is Curator of Contemporary Art at the Art Gallery of Hamilton, Canada.
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Additional Information

Publisher
Mosaic Press
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Published on
Apr 26, 2019
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Pages
120
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ISBN
9781897407264
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Language
English
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Genres
Art / Canadian
Art / Conceptual
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Content Protection
This content is DRM protected.
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Available on Android devices
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Eligible for Family Library

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From vessels, harbours and major seaports to Canadian troops in the Persian Gulf, the subjects of John M. Horton's paintings tell a story, and this exquisite book presents some of the artist's finest work, along with a revealing look at his life and professional development.

Horton's work is second to none, and his paintings are prized by collectors all over the world. A member of the Canadian Society of Marine Artists, the Federation of Canadian Artists and The Honourable Company of Master Mariners of Canada, Horton is also an official Canadian naval war artist.

Horton's marine art captures today and yesterday—people, places and events as we know and remember them. His paintings grace the walls of corporate offices, private homes, mansions, museums and even ships at sea. While there are many artists who paint marine scenes, few have Horton's ability to delineate accurately the architecture of a ship. And few compare when it comes to depicting the history of maritime events through their work.

Horton's portrayals range from the Pacific voyages of discovery when captains Cook and Vancouver first anchored off British Columbia to contemporary settings on urban and rural waterfronts. He gives us glimpses of other parts of the world, of the military at work, of bustling ports and tranquil inlets. Celebrating the beauty of the land and the majesty of the sea, this collection of paintings, complemented by Horton's intimate observations, showcases the scope and vision of this talented artist.

For many, Salvador Dalí (1904–1989) represents the Surrealist painter par excellence, one whose work explored his own dream life, hallucinations, and fetishes in the process of objectifying the irrational elements of the unconscious. In this rare and important volume, the painter expresses (in his inimitably eccentric fashion) his ideas of what painting should be, expounds on what is good and bad painting, offers opinions on the merits of Vermeer, Picasso, Cézanne, and other artists, and expresses his thoughts on the history of painting.
In a blend of outrageous egotism and unconventional humor, Dalí presents 50 "secrets" for mastering the art of painting: "the secret of sleeping while awake," "the secret of the periods of carnal abstinence and indulgence to be observed by the painter," "the secret of the painter's pointed mustaches," "the secret of learning to paint before knowing how to draw," "the secret of the painter's marriage," "the secret of the reason why a great draughtsman should draw while completely naked," and many other Daliesque prescriptions for artistic success.
Illustrated with the artist's own drawings, this volume is a fascinating mixture of serious artistic advice, lively personal anecdotes, and academic craftsmanship. It is, according to the San Francisco Chronicle, "in lay-out and clarity of design . . . a remarkable work of art in itself." Especially esteemed for its insights into modern art, 50 Secrets of Magic Craftsmanship is indispensable reading for any student of Surrealism or 20th century painting.
Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion.

One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously “black" materials to comment on the nature of the artwork, the art world, and race in America. And although Bliz-aard Ball Sale has been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded. Like so much of the artist's work, it was conceived, it seems, to slip between our fingers—to trouble the grasp of the market, as much as of history and knowability.

In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as “art,” “commodity,” “performance,” and even “race” into categories that shift and dissolve, much like slowly melting snowballs.

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