The Winnipeg School Of Art

Before the First World War, Winnipeg was Canada's third-largest city and the undisputed metropolis of the West. Rapid growth had given the city material prosperity, but little of its wealth went to culture or the arts. Despite the city's fragile cultural veneer, the enthusiasm and dedication of members of the arts community and a grpup of public-spirited citizens led to the establishment of the Winnipeg Art Gallery in 1912 and the Winnipeg School of Art in 1913.This volume is a history in words and illustration of the early years of the Winnipeg School of Art, its hopes and ideals and its struggles for survival. Its story is in large part a record of art and artists in Winnipeg during the period. The growth of the School is described through the terms of its first four principals: Alexander Musgrove, Frank Johnston, Keith Gebbhardt, and L. LeMoine Fitzgerald. Biographical sketches on artists involved with the School as teachers or students from 1913 to 1934 are also included.Reproductions of over 80 selected works from the exhibition marking the seventieth anniversary of the founding of the School, eight in full colour, present the most vital and provocative arrt of the period.

Documenting two exhibitions (2012's 'enuhmo andúyaun' or the road home, and 2018's 'Pahgedenaun'), this publication features drawings and installations Saulteaux artist Robert Houle created about his childhood experiences at Sandy Bay Residential School, located in his home community of Sandy Bay First Nation on the western shore of Lake Manitoba. In these works, Houle addresses the traumas he experienced as a child while attending the residential school run by the Missionary Oblates of Mary Immaculate, an institution in operation from 1905 to 1970. 'Pahgedenaun' is a Saulteaux word expressing the self-defining and self-determining act of ?letting it go from your mind,? embodied in Houle?s profoundly powerful and unsettling art works, which embody acts of memory, truth-telling, survivance and healing. Original texts are accompanied by numerous colour plates, a biography of the artist, and a brief history of the Sandy Bay Residential School.00Exhibition: School of Art Gallery, University of Manitoba, Winnipeg, Canada (07.09-12.10.2012) / Carleton University Art Gallery, Ottawa, Canada (15.01-29.04.2018).

In the first part of the twentieth century few women in western Canada had careers as artists—Pauline Boutal had three: 23 years as a fashion illustrator for the Eaton’s catalogue for the graphic design company, Brigden’s of Winnipeg, 27 years as the Artistic Director at the Cercle Molière Theatre and 70 years as a visual artist. Born in Brittany in 1894, Boutal painted in a traditional style and trained at the Winnipeg School of Art, the Cape Cod School of Art, and at l'Academie de la Grande Chaumiere in Paris, France. She left an important legacy of portraits, landscapes, still lifes, and illustrations as well as theatre sets and costume designs. This English translation of Louise Duguay’s award-winning "Pauline Boutal: Destin d'artiste 1894–1992" shares the story of an important artist who lived an exceptional life. Today a great number of Boutal’s works can be found in major private and corporate collections across Canada. For her contribution to the French culture and theatre in Canada, Boutal was awarded numerous prestigious prizes, including the Order of Canada. In addition to thousands of sketches, illustrations, and paintings, Boutal also left a rich legacy of letters, speeches and interviews at the Centre du Patrimoine Canadien. Drawing on these sources, Louise Duguay has created a work that honours the best of biography and autobiography.

In Unruly Visions Gayatri Gopinath brings queer studies to bear on investigations of diaspora and visuality, tracing the interrelation of affect, archive, region, and aesthetics through an examination of a wide range of contemporary queer visual culture. Spanning film, fine art, poetry, and photography, these cultural forms—which Gopinath conceptualizes as aesthetic practices of queer diaspora—reveal the intimacies of seemingly disparate histories of (post)colonial dwelling and displacement and are a product of diasporic trajectories. Countering standard formulations of diaspora that inevitably foreground the nation-state, as well as familiar formulations of queerness that ignore regional gender and sexual formations, she stages unexpected encounters between works by South Asian, Middle Eastern, African, Australian, and Latinx artists such as Tracey Moffatt, Akram Zaatari, and Allan deSouza. Gopinath shows how their art functions as regional queer archives that express alternative understandings of time, space, and relationality. The queer optics produced by these visual practices creates South-to-South, region-to-region, and diaspora-to-region cartographies that profoundly challenge disciplinary and area studies rubrics. Gopinath thereby provides new critical perspectives on settler colonialism, empire, military occupation, racialization, and diasporic dislocation as they indelibly mark both bodies and landscapes.

This new Guide to the Collections presents over 400 works from the WAG's permanent collection, with each object illustrated in colour and accompanied by an extended text. Represented here are works spanning ten centuries and featuring a range of media selected from the Gallery's holdings in European and Canadian art, works on paper, photography, decorative arts, contemporary studio and inuit art. Included in the Guide is an illustrated essay on the history of the Gallery, and a bibliography of selected WAG publications, including collection and exhibition catalogues. --Book Jacket.