3, (1998-2000), an actual car, which the artist painted matte, incising on the surface words from the Book of Revelation that refer to the apocalypse. We are thrilled to be featuring his work Trans AM Apocalypse No. His articulation of these themes through sculpture may be less familiar, and this poignant material aspect of his practice will serve to generate new readings of his four-decade-long practice.
Viewers may be familiar with Scott’s consistent and eerily prescient style in his works on paper, plotting intersections of humanity and technology, religious fervor and military might, utopian visions and dystopian outcomes. Sympathy for the worker as a human tool in the global industrial complex pervades what some have called his apocalyptic vision. His imagination has been fed by science fiction, the Space Age and Motor City manufacturing might and blight. Curated by Daniel Strong.įearful Symmetry: The Art of John Scott will include 28 works on paper in a vast installation in the AGH’s largest rooms reserved for contemporary art exhibitions.īorn and raised in Windsor, a child of the North American working class and of the 1960s, activism has never subsided in John Scott’s work. Organized by Faulconer Gallery at Grinnell College, Iowa. The exhibition is curated by Jacques Des Rochers, Curator of Quebec and Canadian Art (before 1945) at the MMFA, and Brian Foss, Director, School for Studies in Art and Culture, Carleton University, Ottawa.
#Persona phantom of the opera gallery professional
As the first association of its kind in Canada to bring together professional women artists, it provided both a community and public forum for their activities and the development of their practices, another sign of the Group’s progressive, modern nature.ĭon’t miss the opportunity to see newly discovered paintings as well as masterworks by such modern greats as Edwin Holgate, Anne Savage, Sarah Robertson, Prudence Heward, and A.Y. This is particularly important as the Beaver Hall Group has always, in part, been characterized by its female membership. In locating the activities of this Montreal group in a national context, we are given a broader view of the artistic landscape in Quebec, Ontario and indeed Canada. The exhibition levels the art historical playing field. But rather than offering an image of Canada’s identity through the depiction of untamed landscapes, they showed their attachment to the portrait and to humanized cityscapes and landscapes. In essence, the Beaver Hall Group was to Montreal what the Group of Seven was to Toronto. The Montreal Museum of Fine Arts has righted the situation and organized the first major exhibition to shed new light on this pivotal association of artists. The painters associated with Montreal’s Beaver Hall Group (so named for the location where they shared studio and exhibition space) were among Canada’s most avant-garde artists of their day and yet until now their contribution as an association has yet to be fully researched and presented. They were bold and experimental and at the forefront of modern painting in Canada in the 1920s.
1920s Modernism in Montreal: The Beaver Hall Group
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