Hamilton Musicians Annual 2012 Part 1

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This exhibition features a collaborative venture between Jane Adeney and her son, Chris Adeney, as well as other new works that serve to delve deep into a topic of such magnitude as human existence and transformation. The AGH and the WAA have been partnering since the Gallery first opened its doors in and our association has been going strong ever since. The WAA continues to be a presence within this community, and we are pleased to be able to share this auspicious moment in our history with an old friends.

The company was most influential under the direction of J. Pigott Better Built Homes Company, applied Art Modern architecture and modern mass production to home design in the s. The work of J. Pigott offers fascinating insight into the evolving architecture of Hamilton and North America throughout the twentieth century. The shields reveal much about their personal experiences and how HIV has affected them. Both cultures have a long history of making specially crafted objects for functional and religious use; the contemporary manifestations of this tradition show varying degrees of connection with previous times as well as clear indications of change.

Artworks from both cultures are displayed side by side in this exhibition and their juxtaposition invites comparison in such characteristics as continuing connection to the original culture, size, media, content and reference to the past. It is not always easy at such a geographical distance from these cultures to know just what is happening right now—it takes time for information about the art to trickle down.

They are far enough away, in their land of the midnight sun, to retain an element of romantic exoticness for many people. With this exhibition we hope to throw some light on at least one aspect of their recent lives—the art. Fantin-Latour was a master portraitist known particularly for his large group portraits of fellow artists. Also exhibited will be the painting of a robust Bather, painted in the soft-contoured, gently glowing style that Fantin favoured for his female nudes. Perhaps the artist was partly inspired for this filmy manner by his work in drawing on the lithographic stone.

Fantin was a leading figure in the revival of lithography in the second half of the nineteenth century, and the exhibition will include three of his imaginative lithographs. In order to control China, the Manchu minority kept their racial identity, status and privilege separate from the Han Chinese majority. Despite stressing their ethnic differences, the Manchu cultivated artistic practices that displayed a strong underlying current of Chinese influence, demanding perfection in all areas of artistic expression. This quest for perfection is especially evident in the porcelain of the period; many experts consider the porcelain of the Qing dynasty to be the most splendid ceramics ever crafted.

Several of the most powerful Manchu emperors were also involved patrons of the arts, establishing workshops dedicated to the production of exquisite decorative pieces. For example, Qianlong, emperor from , was an enthusiastic collector-connoisseur who amassed an enormous collection of painting and calligraphy masterpieces. His reign is considered the greatest age of decorative art in China. Celebrated Canadian artist and glass blower Shirley Elford has gained an international reputation for her handcrafted glass sculptures. Not only has she received many awards such as Woman of the Year, Canadian Achiever, and an inductee into the Hamilton Gallery of Distinction, she is also known for designing and sculpting presentation pieces most notably the Juno Awards in Through her glass works, Elford carefully explores and articulates line, form and structure.

This recent installation reveals a Shirley Elford never before witnessed. Shirley will transform the Steiner Gallery into an environment comprised of glass, light and euphoria. Through the exclusive use of line marker paint, the industrial medium used to define the boundaries of our highways Canadian artist C. Wells has developed a painting practice akin in spirit to that of a topographer. Since he has audited the history of line marking, beginning with its origins in Trenton, Michigan in Through conceptually positioning the relationship topographically and metaphorically between Rome and Point Pelee, he reveals how the line marker becomes an allegorical emblem of urbanization bringing out the historical context and contemporary meaning of this urban code.

Alan Flint is known for his large-scale installations that range from floor works to large-scale sculptures that often use letters or words.

Exhibition Archive

In past works, Flint has transformed words into things with reflective surfaces that play with the immediate environment whether it inside or outside. His sculptural forms are physical masses that occupy space in distinct ways. Generally speaking, Flint is interested in the complex dynamics surrounding language and the power of the word, and how it affects our attempts to render the world meaningful. In Commerce through the use of found objects, sculpture, digitally altered photographs and video, Flint plays with the concept of commerce in all its manifestations such as the buying and selling of ideas and thoughts as well as objects — manipulating language and deliberately using distortion to allow slippage between word and thing.

What is Alan Flint selling? A leading figure of 20th-century modernism, Chagall produced more than a thousand prints. Sublime Embrace: Experiencing Consciousness in Contemporary Art is a concerted exploration of the theme of consciousness in art, bringing together an international spectrum of work that engenders a visceral sensation of conscious experience.

In the past few years this exploration has become much more focused and fueled in part by scientific and technological discoveries. This international, multidisciplinary exhibition includes artists who have assimilated into their work strategies of sensation. Artists featured lead visitors to a fuller experience through sensory perception such as audio, touch, emotion and smell, bringing visitors into the work physically or psychically.

This summer, visitors to the AGH will have the unique opportunity to admire a select group of masterpieces by Vincent van Gogh — , loaned from museums near and far. Van Gogh is one of the most broadly loved artists of all time; his canvases consistently set record prices on the market. However, misconceptions persist regarding his life, art and the sources of his originality. Van Gogh zealously embraced his artistic profession and prolifically created close to a thousand paintings in a career spanning only a decade — This exhibition of photographs explores the formative period in the history of multiculturalism in Canada by focusing on the work of photographer Michel Lambeth.

Providing visual evidence of successful integration and diffusing tension through humour and perceptive observation, these photographs helped shape contemporary notions of diversity and Canadian identity. Monstrous heights, foaming falls, precipitous ice, rugged cliffs, hanging woods: the sublime landscape inspired astonishment, terror, and awe. Words could barely convey what the sublime was intended to evoke. An aesthetic revived in the 18th century, the Sublime was defined in contrast to the more civilized and inviting Picturesque, though both often coexist in one landscape.

It shared sentiments with the Gothic—the mystery of ruins, the hint of ghostly presences, the fear of wild beasts—and eventually fed into Romanticism and its evocation of intense emotion. The loss of this connection—a loss of innocence—also brings with it a sublimity of sorrow. In 19th century Canadian landscape, such sublime feeling is sometimes transcribed into romantic representations of First Nations people.

The sublime was a thrill to be sought. Like the Lake District with its Tintern Abbey, Canada had its own tourist hotspots for experiencing the sublime: Niagara Falls, the Saguenay River, and—with the completion of the transcontinental railway—the Rocky Mountains.

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In this selection of 19th century Canadian art from the Art Gallery of Hamilton collection, we catch a glimpse of the sublime in landscapes, but also some portraits and genre paintings, by such artists as F. Since Peter Horvath has been exploring the art of digital montage and other time based media. In recent years, his artistic focus has been based around the transitory nature of identity and human consciousness.

Inventory of Being combines two series of work by the artist, Head on Collision and Love and other Ubiquity. Digitally combining family Polaroids, video, personal journal entries and sketches, Horvath has created a dark and intriguing look into his own personal ephemera, while inviting the viewer to delve further into theirs. Narrative is open to analysis, while the non-linear format allows both series to be considered equally through reoccurring imagery and themes. Horvath has had numerous successful exhibitions both throughout Canada and abroad.

Spanning the entire century and including stellar examples of history painting, distinguished portraiture, landscape and genre scenes, the exhibition will disclose the beauties of a segment of nineteenth-century painting that is relatively unexplored in comparison to French or English art of the same epoch. Viewers will be able to understand the affinities between painting in Hungary and the rest of Europe, as well as to appreciate aspects unique to the Hungarian tradition. Compared to the vast region that was once the Austro-Hungarian state, modern Hungary is a relatively small country. But it lies in a land where peoples, cultures and empires have met — and clashed — for centuries.

This is where Celts ceded to the Romans. Where Gothic architecture and the influence of the Italian Renaissance took hold. Where a Turkish pasha ruled for years. Where Joseph Haydn conducted an orchestra at the behest of a prince. Made up, finally, of 97 distinct photographs, each object appears blown-up in size and side by side to display the visible tropes of active identity, and the fragile remnants of lives lived.

With the techniques of embroidery and sewing, Torma transforms cloth and thread into intimate objects that speak about memory, family and above all, the careful cultivation and toil equally central to the work of gardener, homemaker and artist. Torma is consistently inspired first and foremost by her family, who are alive in the textured histories woven through her pieces.

Raised on a farm in Hungary, Torma was taught hand sewing and embroidery by her mother and grandmother, and went on to train at the Hungarian University of Applied Arts in Budapest. In this period much art was subjected to state-controlled censorship. By this ironic turn, Torma and her contemporaries were allowed an unusual freedom of expression. Kealey died on May 30, at the peak of her career. The work of Susan Kealey is inextricably linked with her personal strife — she was diagnosed with chronic leukemia at the age of sixteen, however, in spite of this condition, she completed high school, went on to university studying in between bone marrow transplants and recoveries.

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Her formal training in philosophy and translation informs her work. Between and Kealey completed five series of photographic works of which this work is a part. The permanent collection of the Art Gallery of Hamilton is recognized as being distinctive due to the number of quality works that are included in it. A key collection of contemporary works by major Canadian artists has developed over the past ten years. Susan Kealey was a strong player in the Toronto arts scene in the s and despite her short-lived career her impact was great. Her work is situated amongst many artists that were interested in popular culture, many of whom used found objects in their work as a means to explore and address it.

With a strong Duchampian slant, Kealey takes a strong philosophical attack to her subject combined with humour and the observation of a scientist documenting popular culture as one would observe and document historical museum artefacts of past civilizations. His influence as artist, teacher and friend contributed broadly to the growing local artist community, and will not soon be forgotten.

Born in Hungary, Inglis grew up a strict Catholic, and her often repressive early religious and cultural experiences continue to inform her art. The pieces in this exhibition continue to resonate with the intimacy and intensely personal qualities the artist is well-known for, while at the same time speaking to a set of broader, human issues. In this body of recent, evolved work, Inglis examines the dual devotion to religious and popular icons, to spiritual faith and to the culture of consumption. Inspired by her travels in Mexico, her shrines to the Virgin and to Frida Khalo celebrate two influential female figures in temporary temples made up of disposable objects from Mexican markets and local dollar stores.

A third female figure in the exhibition is of the artist herself — the installation Cruciare literally lights up an exposed and vulnerable Inglis, a testament to her reclaimed knowledge, sexuality, and freedom. Valeska Soares creates interactive multi-media environments that probe the depths of existence.

Many of her installations make you aware of your position — alone in a crowd, watching, listening or lost in contemplation. She frequently uses illusory materials that are either transparent, such as acrylic, or reflective, such as mirrors and stainless steel. The installation Walk on by offers a simultaneous realm of reality, distortion, and reflection through sculpture and video.

Invited to produce a site-responsive work for the Art Gallery of Hamilton as part of the Contemporary Art Project Series, she spent a week becoming acquainted with the city and its environs. It was the downtown core that provided the subject of Walk on by, specifically Gore Park, a gathering place with park benches, a fountain, bus stops, and a performance stage that is active during the summer months. The installation Walk on by consists of two video projections, each beginning with the image of a park with a park bench. Then the magic happens as inadvertently, the spectator becomes part of the work.

This work also simultaneously premiered at the Sao Paulo Bienale in October Beginning with paintings and prints from the 17th century, the exhibition spans two centuries and includes landscapes representing different styles, schools and themes. The 17th century was a key period in the development of landscape art, particularly in The Netherlands, and the 19th century saw a subsequent emphasis on landscape, in France and other countries.

Visitors can admire works by well-known masters such as Courbet and Pissarro, as well as beautiful examples by lesser-known landscapists. Together the works offer the chance to study the evolution of landscape—from 17th-century naturalism to late 19th-century Impressionism and Post-Impressionism. He began his career in and has not stopped since. Self-taught in photography, his early years consisted of photographing social and press events before specializing in industrial photography.

He developed a technique and a unique form of lighting that identifies his particular style and approach. This exhibition consists of a selection of key and remarkable photographs that constitute highlights of Hamilton industry since the early s.

Industry was the dominant force in the development of Hamilton from the mid 19th century to the mid 20th century and remains an integral part of the image and identity of the city. From its beginnings in buildings such as the Gothic Revival tin shop and foundry constructed by Alexander Carpenter on John Street in the s, to the huge complexes that grew to dominate the waterfront and eastern parts of the city by the early 20th century, the architecture of industry has followed technical innovations in power and manufacturing to create some of the most interesting, influential and yet underappreciated architecture in the city.

This exhibition explores the design of industrial buildings and how it was affected by the change from water power in the early s through to steam and finally to electricity. The work examines the ability of people to co-exist peacefully in the context of ongoing conflict, and runs in conjunction with the exhibit at the McMaster Museum of Art, A millennium for youth Joven Milenio , focusing on work by university art students and emerging artists from Colombia.

Proposed by Gabriel Baquero, the founder of the Colombian based, artist run magazine De Mente , is geared toward strengthening a cultural understanding between Canada and Colombia, and providing Canadian and Colombian artists opportunities for international exposure. Purely Pastel: Pastel Artists Canada 15th Annual Open Juried Exhibition Pastel Artists Canada PAC was founded in by a small group of artists in the Burlington area with the aims of promoting public appreciation and improving the skills of artists working in this fine art medium.

Now strong from coast to coast, PAC is returning to its roots for the 15th anniversary of their prestigious Annual Open Juried Exhibition. The gallery is fortunate to possess four representative works by Vuillard, who favoured intimate domestic themes and developed a collage-like style of interlocking patterns. This group show looks at identity construction in art since the s. This exhibit covers more than fifteen years of her practice in electronic media, including earlier works aimed at deconstructing the dominance of mainstream biological and biotechnology discourse, and recent works that attempt to represent these dynamics in the life cycle, often by involving the viewer as one element in continuous flux.

How does a sculptor convey movement in a figure using inert materials? How to convey the act of walking, dancing, swimming, or flying, through wood, stone, metal, or fibreglass? How about violent conflict? Or those involuntary reactions to pain, despair, and joy? Or even smaller gestures, like a tender caress? Or a reaching hand? The figure can be human or animal—clearly represented, or barely suggested through abstraction. The double entendre of the title is intentional.

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They move us. We cannot help but respond to these figures who share our space and draw attention to themselves through the efforts they make. One of the great heroes of 20th-century photography, Edward Steichen American — pursued a long and fruitful career that included co-founding the Photo-secession group at the turn of the century, transforming fashion photography into fine art, and serving as director of the U. A selection of Steichen nature and still life photographs pulled from four photographic portfolios donated anonymously to the AGH in makes up this stunning exhibition on Gallery Level 2.

Kent Monkman is a contemporary Toronto-based artist of Cree ancestry. He makes work in various media, including video, photography, painting, installation and performance. Monkman takes inspiration from the histories depicted in 19th-century art — including early photography and Romantic painting — creating new stories through images that reinstate the missing narratives of Aboriginal peoples into these contexts.

His work also explores stereotypes of masculinity and queer culture through the construction of piercingly witty situations that use sexuality as one tool for challenging the authority of these established histories. The year marked the inception of two important artistic groups. While both groups were interested in furthering a modern approach to painting, the groups differed with respect to their subject interests.

Organized by the Art Gallery of Hamilton, Wit and Whimsy explores the fascinating world of twentieth-century folk art in Canada. Bringing together over fifty works by renowned folk artists from coast to coast, the exhibition provides an overview of the various working methods and thematic approaches explored by folk artists over several decades.

Drawing their inspiration from the land and the world around them, folk artists have traditionally looked to, and reflected, their environments and lived experiences. Wit and Whimsy thereby takes its lead from the artists and explores the three basic elements of the natural world: land, sea and air. Organized around these recurring thematic streams, the exhibition aims to construct a view of the world as seen through the eyes of the artist and their lived experience, providing intimate and insightful views into the human condition.

Incorporating paintings, small and large scale sculpture and dioramas, the exhibition presents both functional and purely aesthetic work. As such, boat models, life-size figures and farming scenes accompany whirligigs, birdhouses and weathervanes. As part of our ongoing commitment to present private collections of significance, we invite you into the home of Susan A.

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  5. Murray, a Toronto businesswoman and avid collector of Canadian folk art. A collector for over twenty years, Ms. Murray has amassed over five hundred objects of contemporary and historical folk art, building a holding that is distinguished as much by its breadth as its depth. As one of the most impressive private holdings of folk art in this country, the collection reflects both the eye and the passion of a discerning collector.

    The exhibition, which includes works by such recognized artists as Collins Eisenhauer, Joe Norris, Sidney Howard, Ewald Rentz and Charlie Tanner, offers the public a rare view of work normally kept behind closed doors. In addition to being a principal supporter of the AGH and its programs, David Braley has for several years assembled an impressive collection of the art of two leading contemporary wildlife painters—the Canadians George McLean and Chris Bacon.

    While Bacon specializes in avian painting, frequently silhouetting his birds against minimalist natural backgrounds and rendering them in delicate watercolour, McLean represents his animals immersed and sometimes camouflaged within a verdant natural world filled with meticulously rendered details of foliage. Organized from the AGH collection, this exhibition explores the theme of animals in European, Canadian, and American historical art, featuring the rich and diverse symbolism of the animal in painting and sculpture.

    Later in time and standing at an opposite thematic scale are domestic farming views by the early 20th-century American social realist George Bellows Pigs and Donkey and the 19th-century amateur Canadian painter Ebenezer Birrell Good Friends. In , midway through his painting career, he relocated to Pointe-aux-Trembles known today as Neuville where he established a large studio and produced several portraits and large-format religious works, along with some genre paintings and original compositions.

    In this work, Zeldin creates a visual narrative out of the often disconnected and fleeting ideas that parade through the mind, questioning the possibility of narrative sequence in the chaos of daily life. Zeldin teaches drawing to students of animation at Sheridan College. His work bridges the gap between art and life by exposing the fragility inherent in the daily activities we all perform, like eating, walking, and sleeping. Over the course of his career, Morelli has created a unique visual language through the creation of iconic imagery which he translates into sculpture and custom made stamps that are reinvented and elaborated in varying scales, combinations and media.

    Known for his highly original heels mimicking such forms as the comma, ball, pyramid, or escargot, Vivier is attributed with the invention of the stiletto heel in the early s. Imitating the small, taper-bladed dagger for which it is named, the seductive spiky stiletto was made possible by an internal strengthening rod of steel. One of the heroes in the early history of photography as a fine art, Steichen pursued several different pathways. Early on he was elected to the Linked ring society of British Pictorialist photographers. His most famous image from that early period was the soft-focus, romantic portrait of the great sculptor Auguste Rodin facing his masterpiece, The Thinker.

    Subsequently the photographer changed course and co-founded the Photo-secession group, and then on the eve of World War I he became interested in photojournalism, which led to work during both world wars as a photographer for the U. The traditionally humble still life rose to fresh prominence in 19th-century Europe, when newly empowered middle-class patrons provided a substantial market for the genre and still lifes became increasingly accepted by official exhibition juries.

    By the early 20th century, European modernists embraced still life as a suitable vehicle for the exploration of new concepts of pictorial structure and design. From February 17th to 24th, the Tankard Trophy was on display in this exhibition. The work shown will relate to the themes of nature and personal identity illustrated through canvas self-portraits and mixed media landscapes. These huge signs painted on the sides of buildings in the early part of the 20th century -like the faded Coca-Cola sign recently uncovered by demolition on King Street East-provide fascinating clues to the rich cultural life and economic development of Hamilton in years gone by.

    Featuring a crowd of life-size figures posed in various attitudes and grouped within an arched, ancient Roman interior, the massive picture measuring over 4 by 6 metres, or 13 by 20 feet shows Jesus with bound wrists brought for judgment before Pontius Pilate, the Roman governor over Judaea. Placed at floor level Christ before Pilate struck visitors by its resemblance to a living religious diorama. In return for this gesture, local audiences were able to enjoy the exhibition of 78 paintings from Hungary — Hungarian Splendour: Masterpieces from the National Gallery in Budapest.

    Carved by hand from blocks of soapstone, marble and alabaster in every imaginable colour, Markstein lets the shape of the sculpture slowly reveal itself, transforming unwieldy slabs of stone into images of beauty. Eventually settling in Hamilton, she has been sculpting from her downtown home for the last quarter century, making up for lost time. Whether inspired by myth, biblical references or her own life experiences, Markstein evokes a rare purity that cuts through to the heart of the matter, by finding the life in the stone.

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    Cheap Meat Dreams and Acorns: Ken Gregory Ken Gregory has played with form and technology for more than fifteen years, creating interactive computer-based installations. He approaches the work through process and the intuitive application of tools and ideas, discovering and learning through constant experimentation.

    Of critical importance is how his innovation and playful sense of discovery stimulates our imaginations. Encountering any work by Ken Gregory means you are about to enter an experience, not merely contemplate an image. The circulation of this exhibition is made possible by the Museums Assistance Program of the Department of Canadian Heritage. Co-curated by Dr. Two women. Two artists. Two painting careers lost to us through time and art historical neglect. As the first in-depth study of these artists, the exhibition seeks to introduce their works to a wider audience while providing the opportunity of experiencing a selection of over sixty paintings on loan from private and public collections.

    The parallels between the two artists and their practices are particularly interesting. Macpherson and Jones shared similar family backgrounds: both were born in Atlantic Canada, traveled to Europe to study in the late nineteenth century and experimented with Impressionism. Indeed, any artist of ambition either male or female of the period made the pilgrimage overseas for the purposes of advancing their art training and career. Through their travels and various residencies in Europe, both Bannerman and Macpherson were exposed to the vanguard of Western painting and immersed themselves within various European art communities.

    The work of Bannerman and Macpherson certainly merits our attention and the exhibition and accompanying publication for Two Artists Time Forgot not only brings their work to life but recounts, for the first time, the rich artistic journeys of these two pioneering Canadian women artists. Conner set out, despite the palpable threats of the long-running civil war in the region, to capture the stunning landscape, monuments and people who remain there.

    Renowned in its age for incredible art and architecture, Conner relates the story of the Angkor Period, about to , through panoramic vistas that stretch the borders and place us inside the frame. Her highly-detailed contact photographs utilize an unusal elongated format, in part because it lends itself better to the narrative effect she wished to evoke. Patrick Shaw Cable. Luke Chan has embraced modern Chinese painting that is nourished by and continues the age-old tradition of Chinese landscape painting and calligraphy.

    This internationally successful touring exhibition presents a lavish array of more than twenty kimonos of one of the most famous geisha of 20th-century Japan: Ichimaru — From a life of rural poverty, the adolescent Ichimaru began as a low-rank geisha, and blossomed into one of the most revered and elegant geisha, known to possess the singing voice of a nightingale. In her lifetime, therefore, the exceptional Ichimaru was a major figure of both the centuries-old Japanese geisha tradition, and the modern, Western phenomenon of popular recording star.

    As a singer Ichimaru promoted traditional Japanese music and folk melodies, and continued the geisha tradition of elegant, stylish dress. Friends from their student days, Degas and Tissot were inspired by the special forms, colours, and motifs of the art of Japan, in particular Japanese woodblock prints. The Japanese influence melded with other sources of inspiration, such as photography for Degas and the popular fashion plate for Tissot.

    This groundbreaking Canadian presentation of Japanese art examines new and recent work by emerging and mid-career artists. Today, an exciting new wave of work follows in the wake of the Superflat aesthetic, defined by a new generation of Japanese artists. Their diverse works, on view in Canada for the first time, reflect an acute consciousness of cultural tradition, while simultaneously proposing visions of a globalized future. The exhibition will include work in a variety of media including drawing, installation, photography, sculpture, textile and video.

    The innovative twist is the stage itself: although physically present, the performance space remains concealed from view — the stage is not visible to the audience. This separation between performer and spectators riffs on the notion of obscurity as a viable creative path — perhaps even as the necessary ingredient in the mysterious recipe for success. During the course of its exhibition, The Monotheatrum will begin to build-up a storied past through performances and audience encounters.

    As it moves on from here, its legend will continue to build, slowly generating the kind of psychic energy that defines the great performance venues of our time, like Massey or Carnegie Hall. Masters of the Ukiyo-e features more than a dozen ukiyo-e prints from the AGH collection, including images of the geisha, the Kabuki actor, and the sumo wrestler; episodes along the Tokaido Road; and snow and river scenes.

    In addition to the work of 19th-century masters like Ando Hiroshige — and Utagawa Kunisada — , the exhibition presents a few examples by talented artists who continued the ukiyo-e tradition into the next century, such as Hiroshi Yoshida — and Kiyoshi Saito — On view is an assortment of paintings and sculptures dating from the Middle Ages to the early years of the 20th century. Including altarpieces, oil paintings of dramatic narratives, and carved and painted sculptures of saints, the show discloses stories and heroes that are both familiar and unknown, as well as the passion and beauty of Christian art through the ages.

    A portion of the exhibition, on view until mid-April, presents a corridor of prints from the Renaissance and Baroque periods. Wynn and Dr. Bill Bensen. The human instinct for storytelling began, before verbal or written language, with images. As we see in this exhibition, that drive to relate stories — real or make-believe — is still at the heart of art-making. While abstract, minimalist and conceptual art have arguably dominated the contemporary art world in recent decades, many artists have continuously returned to narrative as both a source and form for new expression.

    Narrative can be defined, in the most basic terms, as a sequence of events. The central plot might describe the development of character, the weight of an experience, or the general passage of time. In this room artists illuminate subjects drawn from mythology, the old testament and fairy tales, and articulate histories, cultural contexts, and shifting ideas to convey previously untold stories.

    Some works maintain a traditional sequential structure, while others collapse the narrative line into a single image or a circuitous confusion of episodes. And like the evolution of new languages, the unending possibilities of narrative construction continue to unfold. Although their subjects are wide-ranging, the works gathered here all do more than tell a story.

    Blood, Sweat and Tears: Labour in Art presents a singular subject of late 19th-century and early 20th-century European, Canadian, and American art — labour and the labouring body, and their diverse artistic expression and meanings in a period of unprecedented change. Blood, Sweat and Tears embraces paintings, sculptures, prints, drawings, and photographs created in the year span between and A special aspect of Blood, Sweat and Tears is the juxtaposition of works produced in different areas and produced by artists working in diverse styles and from unique perspectives, from idealized and nostalgic 19th-century representations of the peasantry to gritty 20th-century social realist views of the industrial worker.

    One of the great masters of 20th-century printmaking, Leonard Baskin American — left a rich body of work characterized by singularly bold expressionism, personal imagery inspired by a multitude of diverse sources, and versatile experimentation. Known primarily for his seminal work as a printmaker, Baskin also created illustrated books and sculptures. Turning the lens on the mechanisms of his craft, new large-scale photographs depict details from the instruments of image making — lenses, battery packs, depth of field diagrams — rendering them both intimate and monumental.

    This exhibition will be accompanied by a full-colour bilingual catalogue with curatorial essays by Diana Nemiroff, Director, Carleton University Art Gallery and Sara Knelman, published in collaboration with Carleton University Art Gallery. Carnivals traditionally involve public celebrations and parades including elements of the circus or masquerade.

    But there is often something disturbing, even sinister, that functions as a counterpoint to the festive aspect of the carnival. At first glance, each work displayed here is carnivalesque in spirit. Playing upon themes of the extraordinary, fantasy, masquerade, or performance, the works assembled here are intended to provoke, amuse, beguile, and enchant… much like the carnival itself.

    Commissioned to prove a bet that a horse has all four hooves off the ground while galloping, Muybridge eventually set out to document the gamut of human and animal locomotion. The resulting images are almost all in a grid-like format, depicting incremental stages of movement, similar to film stills.

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    The images shown in this exhibition all depict the human figure, with five showing male figures, and five which take women as their subject. They are without doubt an early, revelatory investigation of motion—yet they also offer an eye-opening historical view of 19th century social attitudes toward gender roles. While male models are most often depicted playing sports or lifting heavy objects, female models are more likely seen carrying out household chores with dainty composure and adorned with typically feminine props.

    Michael Romeo and his wife, Mary Romeo. Focusing primarily on European art of the late 19th and early 20th centuries, the exhibition includes the work of diverse painters of French, British, German, Dutch, Italian, and other nationalities, ranging from landscapes, townscapes, and seascapes to rural and urban genre scenes. The paintings in the Romeo collection include different approaches, such as the detailed naturalism of A Busy Canal Scene in a Dutch Town by the Dutch painter Abraham Hulk , who was inspired by the style of 17th-century Dutch landscape painting; or the impressionism of Picking Flowers in a Farmyard by the Frenchman Edmond Marie Petitjean Despite these varied styles, however, a unifying thread of the paintings collection of Michael and Mary Romeo is a love of light, colour, and picturesque grace.

    Following the presentation of Lasting Impressions: Celebrated Works from the Art Gallery of Hamilton in , which coincided with the reopening of the newly renovated AGH, the exhibition began its two-year, six-city tour across Canada. Go there Explore popular and recently added TV series available to stream now with Prime Video. Start your free trial.

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    IMDb's Guide to Horror. Share this page:. Interactive Entertainment and Activision. Do you have a demo reel? Add it to your IMDbPage. How Much Have You Seen? How much of George Doering's work have you seen? Where performers as young as 8 to 88 took part, yes music does come from the heart. Thank you for bringing your ensembles to the Liverpool Hope Band Festival! I had a great time working with the bands and getting to know some of you better. I appreciate all the great work and teaching that is going on in and around Liverpool. Please let me know if I can assist you or your band programs in the future.

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