Paterson Ewenwas an influential Canadian painter. His later works are large-scale wall pieces distinguished by the use of both traditional and unconventional materials.

Paterson Ewen: Phenomena : paintings, 1971-1987

Monk, Philip

Art Gallery of Ontario

An indispensable consideration of Canadian art in the eighties. Monk examines the problematics of cultural production and criticism in a uniquely Canadian context.

Struggles With the Image: Essays in Art Criticism (Yyz Critical Works)

Arts & Photography

Y Y Z Books

Four young London artists who are attracting international attention — Tracey Emin, Georgina Starr, Jane and Louise Wilson — are examined in this book. Philip Monk looks at each artist, the autobiographical influence as evidenced in the development of their work and the relationship among them all.

Hypermnesiac Fabulations: The New British Art Scene

Individual Artists

Wilfrid Laurier University Press|Power Plant Contemporary Art Gallery

"Mike Kelley and Paul McCarthy have a history of collaboration that dates back to 1987. From this perfect artistic marriage comes three major installations, five videos, two series of photographs, the design of their catalog for the installation ""Sod and Sodie Sock"", along with a double CD of their performances in Tokyo with Japanese noise musician Violent Onsen Geisha! For the first time these numerous collaborations have been chronologically documented and discussed with essays from curator Philip Monk, Ann Goldstein, Timothy Martin and Martin Prinzhorn."

Mike Kelley and Paul McCarthy: Collaborative Works

Prinzhorn, Martin

Goldstein, Ann

MARTIN, TIM

Wilfrid Laurier University Press

Aernout Mik: Reversal Room

Power Plant

Language and representation: Brian Boigon, Andy Patton, Kim Tomczak, John Scott, Judith Doyle, Midding Associates

A Space

Remember radicalism? A time when the Toronto art scene was in formation?and destruction? When there were no models and anything was possible? The late 1970s was a key period when Toronto thought itself Canada?s most important art centre, but history has shown that the nascent downtown art community - not the established uptown scene of commercial galleries - was where it was happening. It was a political period. Beyond the art politics, art itself was politicised in its contents and context. Art?s political dimension was continually polemically posed?or postured?by artists in these years. Beyond politics, posturing, in fact, was a constant presence as the community invented itself. It was also a period rich in invention of new forms of art. Punk, semiotics, and fashion were equally influential, not to mention transgressive sexuality. It was the beginning of the photo-blowup allied to the deconstructed languages of advertising. Video and performance aligned in simulations of television production as the ?underground? mimicked the models of the mainstream for its own satiric, critical purposes. With no dominant art form and the influence of New York in decline, there were no models and anything was possible: even the invention of the idea of an art community as a fictional creation. Is Toronto Burning? takes you on a journey through this period rich in invention of new forms of art. It brings together artworks by Susan Britton, David Buchan, Colin Campbell, Elizabeth Chitty, Carole Condé and Karl Beveridge, Judith Doyle, General Idea, Isobel Harry, Ross McLaren, Missing Associates (Peter Dudar &amp; Lily Eng), Clive Robertson, Tom Sherman, and Rodney Werden alongside archival documents. The artworks were all shown at the exhibition of the same name at the end of 2014 at The Art Gallery of York University, curated by Director Philip Monk. In partnership with The Art Gallery of York University.

Is Toronto Burning?: Three Years in the Making (and Unmaking) of the Toronto Art Scene

History & Criticism

Black Dog Press

Stan Douglas, born in Vancouver in 1960, is among a younger generation of artists that has come of age artistically around figures like Jeff Wall and Rodney Graham. His thorough photographic series and elaborate film and video installations, all technically meticulous, are the base for subtle societal criticisms and investigations of authorship and subjectivity. They are media machines, Automats of a sort, which involve the viewer in their mechanics; they reflect an era of transition from literally mechanical reproduction to electronic saturation. Douglas's widely appreciated work has appeared in the 1995 Whitney Biennial and three Venice Biennales; at Documenta 9, 10 and 11; at the Guggenheim Museums in New York and Bilbao; and at the Museums of Modern Art in San Francisco and New York. He has had solo exhibitions at the Dia Foundation for the Arts in New York, The Art Institute of Chicago and the Museum of Contemporary Art in Los Angeles, among others.

Stan Douglas

DuMont

Urbit: A Solid-State Interpreter

Computers & Technology

Yarvin, Curtis

Dyudin, Anton

Pasco, Raymond

Programming Languages

Independently published

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Books by Monk, Philip