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.
Auger uses bold, bright colours in his oil paintings to explore the intricate links between spirituality and the natural laws of the land. Birds, beasts and human forms are carried from the dreamworld onto canvas, their spirits channeled through his paintbrush and presented in brilliant yellows, mystic blues, vibrant reds and swirls of black. Infusing his subjects with energy, life and colour, Dale Auger masterfully presents scenes that are powerful, spiritual and inspiring. A bald eagle is majestic in flight against a bright blue sky. An elder makes a solemn offering to the Sky Being. Horses dance playfully in the frame for a sweat lodge. A warrior draws his bow and points it skyward.
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.