Jon Rafman caught the art world's attention with his ambitious photo project The Nine Eyes of Google Street View, a collection of hundreds of images carefully selected from blogs and searches. Hauntingly evocative, the work utilizes extremely personal moments to reveal how digital ephemera and media shape our desires and threaten to define our being. Since his appearance on the art scene just a few years ago Rafman has garnered remarkable international success and this first monograph, produced so early in his career, testifies to the pertinence of his practice. Using a wide range of media Rafman blurs the boundaries between virtual and physical realities with works that can be either digital or material, found or made. By moving back and forth from video and photography to sculpture and painting, he brings attention to how such a transformation has become intuitive for us, changing the different ways in which we know ourselves, and how we perceive and relate to the world around us. Though Rafman rarely takes a moral stance toward the messaging behind his art, it consistently asks us to evaluate what it means to be human in the context of these new and ambiguous digital realms.

Jon Rafman (English and French Edition) (French and English Edition)

Arts & Photography

Sandra Rafman

Mark Lanctot

History & Criticism

MAC Montreal / ABC Art Books Canada

A multidisciplinary artist before the invention of the term, Edmund Alleyn (1931-2004) moved from medium to medium, producing a prodigious body of work. At a time when art was defined by movements and manifestos, Alleyn's creative restlessness led him to break away from Greenbergian principles to explore new ground. In the 1950s, under the influence of Paul-Emile Borduas and Jean-Paul Riopelle, he mastered abstract modernism before taking a more personal path, notably with works influenced by West Coast Aboriginal art. By the 1970s Alleyn's preoccupations had turned to technology and his greatest work of the era is L'Introscaphe, an egg-shaped vessel that provided an immersive cinematographic environment. Unveiled at the Musee d'art moderne de la Ville de Paris in 1970, the work was experienced by hundreds of visitors. After several years in France he returned to Quebec where, inspired by the changes sweeping society, he sought to subvert the art/spectator paradigm with new works on plexiglas. Later in life Alleyn returned to painting, creating powerful works infused with sense of nostalgia and loss. His last creative period was marked by works mingling the abstract and the figurative much like those of his youth, except the once vivid colours have been replaced with somber blacks and whites. This career monograph reveals an artist whose practice truly embodies the transition from modernist to contemporary art. Magnificently illustrated with color plates featuring works in every medium and from every period, the book accompanies the first retrospective exhibition since the artist's death. Scholarship by experts in the fields of art and film is enriched by the experiences of those who knew and worked with the artist. Fully bilingual in English and French.

Edmund Alleyn: In My Studio I Am Many (English and French Edition) (French and English Edition)

Olivier Asselin

Vincent Bonin

Gilles Lapointe

Aude Weber-Houde

MAC Montreal

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Books by Mark Lanctot