Catalogs published by
These, and other catalogs from across Canada, are available in the Museum Shop
You can also access a list of our out of print catalogs.
EVERETT SOOP: JOURNALIST, CARTOONIST,
SMOTHER: SUZANNE FRANKS
ANCIENT PERU UNEARTHED
A fully illustrated, bilingual catalogue with essays by Curator Colleen
Sharpe and renowned Archaeologists Dr. J Scott Ramon, Dr. Carlos Elera
and Dr Izumi Shimada. Forward by Dr. Ann Davis, Director of the Nickle
35 YEARS AND 15 MINUTES: PRINTS BY JOHN KENNETH ESLER
A retrospective of Esler's prints from 1957 to 1992. Introduction
by Bente Roed; essay by Susan Ford; notes (accompanying the colour
plates) by Esler. The text provides a comprehensive overview of
Esler's background and his interest in the medium and processes
of print making.
MUQQADIMAH; SYLVAT AZIZ
10 colour illustration from the exhibition examining the artists
provocative exploration of history, myth and cultural combinations.
Essays by Ann Davis and Elin Elgaard.
Curator Karyn Allen's essay focuses on Ray Arnatt's interest in the "dialectical
relationship between opposites " as exhibited in his wall relief
ART AROUND HERE: AVENUES OF ACQUAINTANCE
An art study project that uses an inquiry, research, and synthesis
format (connected to an art exhibition) to help individuals achieve
a deeper and more comprehensive understanding of art and its purpose.
BARBARA ASTMAN: PLACES
Essay by curator Karyn Allen examines the mixed media constructions
of Barbara Astman and the psychological spaces/places that she
presents through her works.
BARCELONE: A PROJECT BY CELINE BARIL
Forward by curator Donna McAlear, and essay by Lorne Falk focus
on Baril's multi-media installation which presents the historical
Barcelone within the contemporary context of our voracious, spectacle-consuming
BENT AXIS APPROACH
Eric Cameron's essay, "To Justify the Inevitability of its
Particular Forms", places his "thick paintings"
(objects embedded within many successive layers of gesso) into
the broader context of modernist art theory and criticism.
DEREK MICHAEL BESANT/DIAGRAMS
Introduction by Peter Day and summary by Jeremy Sturgess examine
Besant's diagramatic paintings of everday objects.
This collaborative work between artist Derek Besant,
and composer Michael Gonneville speaks to us of memory and time
and place, of personal histories and landscapes as shared experiences.
Besant/Migratory explores the stories of two migrants, each moving
in opposite directions.
CONSTRUCTIVE ART IN POLAND 1924 - 1991
An overview, in brief, of the constructivist art of Poland from
1924 to 1991.
COPY: RECENT WORKS BY BENNETT, OUELLET, RYDMAN &
The four Artists represented deal with the problems of copying,
replicating and imitation in the production of "original"
art works.The essay by Katherine Ylitalo analyses these notions
in the context of the artists represented. The catalogue was published
in conjunction with a feature by the Calgary Herald Newspaper.
DRAWING OUT THE FORM
Features the mixed-media sculptures of Lynda Gammon, Walter May,
Louise Nogochi and Edward Poitras. Essays by curator Donna McAlear.
ELEMENTAL INSTINCTS A MATTER OF COURSE
Essay by curator Donna McAlear examines the multi-media, performance,
and site-specific works of Mark Dicey, Wanda Ellerbeck, Miriam
Fabijan, Joyce Fraser, Bart Habermiller, Nelson Henricks, Colleen
Kerr, and Stephen Peterson. Uniting the work of these artists
is a common desire to "...articulate a sense of identity...within
(the) particular cultural conditions..." of postindustrialism.
MAUREEN ENNS: BACK OF BEYOND
An interview with Maureen Enns focuses on her interest in travelling
abroad (Australia in particular) and how this affects the images
Arthur Nishimura supplied three "Fidelity Elite" brand film holders containing exposed, but undeveloped, 4x5 transparency film. The content of these latent images has been pre-determined by Arthur Nishimura alone: Eric Cameron was not aware of the content. The three film holders were then permanently installed on three specially designed stands.
Throughout the course of the exhibition, Eric Cameron removed each of the mounted film holders, one at a time, and applies alternating coats of pure white acrylic gesso and acrylic gesso greyed with the addition of a little black acrylic paint. He kept a record of each coat applied and changed his clothes from grey to white to correspond with the color of gesso which he, at that moment, applied. During the painting process, Arthur Nishimura took photographs, at his discretion, and kept the Polaroid prints in the gallery for later consideration.
The exhibition took place in the East Gallery of The Nickle Arts Museum during the summer of 2003 and again during the summer of 2004
Catalogue: 16 pages, 50 b/w illustrations
A GARDEN OF DELIGHTS: 25 YEARS OF PRINTS BY NOBORU
A retrospective of Sawai's prints from 1968 to 1993. An essay
by Katherine Ylitalo traces Sawai's developing interest in depicting
erotic imagery through the combined techniques of woodblock and
intaglio printmaking. Also included is an essay (written in French)
by Marion Moulin.
INTERIOR PRESENCE: PROJECTING SITUATIONS
Marcella Bienvenue, Genevieve Cadieux, Wyn Geleynse, Jan Peacock,
Grant Poier, and Tom Sherman utilize photography, film, and video
to "explore issues of self and identity".
WANDA KOOP: FLYING TO THE MOON
Thirteen paintings by Wanda Koop with subject matter that is informed
by her trip to China.
WILLIAM LAING: A JOURNEY
A twenty year retrospective of Bill Laings work. Laing's
acknowledgement of the tradition of craft and design plays a major
role in the construction of complex patterns of association which
show his preoccupation with daily life. Essays by Tim Mara and
ARNAUD MAGGS PHOTOGRAPHS, 1975 -1984
Curator Karyn Allen's essay highlights Maggs' fascination with
the human face as subject matter in his photographs.
MARGARET MAY: MIND'S EYE
One of the strongest printmakers practicing in Canada, May builds
images around memory loss, displacement, meditation and order.
The catalogue covers the full range of her work, including prints,
paintings and constructions executed over the past twenty years.
ROBERT TAIT MCKENZIE 1867 - 1938
A retrospective of the figurative bronzes of Robert Tait McKenzie
from 1867 to 1938. English and French text focuses on McKenzie's
interest in the athlete as subject for his works.
DAVID MOORE "...of unequal complicity"
Donna McAlear's essay examines David Moore's sculptures in which
various assemblages of reclaimed and constructed objects pose
questions about personal identity and states of being.
BILL MORTON: DYED WORKS
A poetic description of the dyed, silk works of Alberta textile
artist Bill Morton. Written by curator and museum director, Ann
Davis, the text mirrors the lyrical intuitive, and meditative
sensibility of Morton's work.
Enclosed within a compact disc case, this illustrated brochure
provides a brief synopsis of the work of Alberta artists Jill
Armstrong, Catherine Burgess, Roxanne Dunning, Dan Hudson, Margaret
May, Darren Petersen, and Robin Yager. The text by curator Katherine
Ylitalo brings to light a "renewed concern" among these
contemporaries for "...an economy of means and expression."
OF MICE AND MEN: A HISTORY OF PERSONAL COMPUTING
The personal computer is a major part of our lives, whether we like it or not.
This exhibition looked at the development of the personal computer and
computing devices not only in the twentieth century, but throughout history.
Essays by John Hails, Linda Goldberg, and Jeff Evans
Curator Karyn Allen's essay highlights the portrait photography
of Andrew Danson, Stephen Livick, David Mackenzie, Arnaud Maggs,
Essays by Brian Rusted and Grant Poier examine the aesthetic,
philosophical, and cultural implications of video installations.
Stills and soundtrack transcriptions from the video installations
of Vern Hume and Robert Milthorp are presented in conjunction
with excerpts from a "Video Library Programme" which
features single-channel videotapes produced by these two artists
between 1983 and 1989.
JUDITH LAMB: ROOMS OF THE UNKNOWN WOMAN
Donna McAlear's essay looks at Judith Lamb's painted portraits
on free-standing wooden cut-outs. McAlear draws attention to Lamb's
examination of her family history and how resulting images provide
the viewer with an opportunity for self-reflection.
RECOLLECTING: J. DEWEY SOPER'S ARCTIC WATERCOLOURS
Essays by Alootook Ipellie, Peter White and Constance Martin explore
the watercolours of the Artist/Scientist/Explorer J. Dewey Soper,
who worked in the Canadian Arctic from 1923 until 1931.
THAT STILL PLACE...THAT PLACE STILL
Four Canadian artists explore the themes of landscape,
place, and history. Essay by Christine Sowiak, artist statements
WILLIAM TOWNSEND IN ALBERTA
Essay by curator Karyn Allen traces Townsend's development as
a painter in England and his connection to the Banff School of
Fine Arts in Alberta, with an emphasis on the abstract landscapes
and cityscapes that he painted while in Canada.
TED GODWIN: THE TARTAN YEARS
Following the period recognized as "The Regina Five"
years, throughout which Godwin gained national and international
recognition for his abstract paintings, Ted developed a refined
and innovative style of painting through which he sought to make
sense of the world. What became known as his "Tartan"
works generally acknowledged to be some of the artist's
strongest works the paintings from this period framed the
artist's personal investigations and expressions through the ordered
tartan pattern. The catalogue contains essays by exhibition curator
Ann Davis, and Andrew J. Oko, as well as a memoir by Ted Godwin.
THE AITKENS COLLECT
The growth of a permanent collection of art can be dependant upon
the generosity and astute judgment of those individuals and corporations
who chose to share their collections of art with the public, through
donation to galleries and museums. The Nickle honoured one such
benefactors through this exhibition, Mr. John Aitken and his wife
Catherine. Over the course of several years, they have enlarged
the scope, depth, and breadth of The Nickle's collection through
the donation of their collection of contemporary Calgary art.
CALGARY MODERN 1947 - 1967
The exhibition examined the built architecture in Calgary between
the Second World War and Canada's Centennial, along with the larger
context in which those buildings were constructed, using a multi-disciplinary
approach that incorporated views of the art, history, economics,
politics and social mores of the time. The catalogue contains
essays that investigate concepts of Modernism and architecture
through the suburban modern, and workplace, education, worship,
institutional and home environments.
This ambitious exhibition did not merely focus on coins, as many
numismatic exhibitions do, but also examined the culture, history
and mystique of money throughout the world as a social, cultural
and aesthetic phenomena. The idea behind the exhibition started
from the traditional conception of museum objects (coins), interpreted
in new ways through theoretical vehicles not typically associated
with numismatics art, history, ethnology, archaeology, literature,
economics, architecture, management, and popular culture.
JOHN WILL AIN'T PARALYZED YET
Since moving to Calgary from the United States in 1971 Will has become one
of if not the central figure in the Calgary art community while
also achieving national and international recognition for his work. Somehow,
perhaps because of its range and complexity, an inclusive or comprehensive
description of John Will's art has remained elusive. This exhibition sought
to gather together disparate parts of Will's production in print paint
video assemblage and performance to look at the functions of humour satire
and irony in the work along with his more objective almost documentary
work that takes apart the many facets (from the ridiculous to the terrifying)
of North American culture. The show included works from definable series
in Will's production including two new serial works produced for this
exhibition Sixty Years of Hell and Forty Years of Purgatory
in order to dismantle the apparent simplicity of Will's work to reveal
the complex strategies and investigations at work within. Curator Christine
Sowiak contributed an essay to the catalogue as did guest writer Jeffrey
Spalding. curatorial assistant Charlene McNichol assembled the artist's
chronology and more than 25 "invited" guests added their "testimonials"
including Vikky Alexander Giselle Amantea Jack Anderson Rebecca Belmore
Chris Cran Jeff Funnell Aurora Landin Alan MacKay Rita McKeough Shelley
Oullette Robert Milthorp and Peter White.
NUMISMATIC TREASURES IN ALBERTA
Published as part of the Olympic Arts Festival of the XV Olympic
games, this richly illustrated catalogue highlights rare and important
numismatic items housed in public and private collections in Alberta.
STRIVING FOR IDEAL RESOLUTION
Curator Donna McAlear's essay examines the multi-media works of
Dough Back, Ken Lum, Mary Scott, Lisa Steele/Kim Tomczak (a collaborative
team) and Martha Townsend. These artists seek to "...de-mystify
the common fables that place the cultural production of artists
in a position isolated from daily living." Thus, their works
"...examine and criticize social and political mores..."
from the perspective of "common experience". French
|©2005 The Nickle Arts Museum