Photographer and writer Allan Sekula constructs narratives that define land and its political, social, and economic demarcations. He has described Geography Lesson: Canadian Notes as a conjectural comparison of imaginary and material geographies in the advanced capitalist world. In the book, which is based on a 1986 exhibition, he examines the iconography found in images of a landscape altered by mining, of bank architecture and its messages of cultural stability, and of the land as a source of economic wealth as it appears on Canadian money.The seventy-six photographs form a narrative sequence augmented by captions and by the text, which is written in the subjective voice of a single investigator and storyteller. The photographs link two sites: the Inco mine and smelter in Sudbury and the Bank of Canada in Ottawa. The deep roots of their existence -- the creation and distribution of wealth -- are far more intimately connected than appearances would suggest. Canadian bills bear images of industry that draw resources from the land, contributing to the myth of national independence and self-determination. Issues of national identity and independence acquire a heightened poignancy in light of Sekula's underlying subject, the relationship between Canada's resource-based economy and U.S. capital.In essays following Sekula's text, Gary Dufour discusses Canadian Notes as an examination of social and economic discourses that shape perceptions of the land, and John O'Brian discusses the dynamics of a resource-based economy, relations between Canada and the United States, and photography's ability to regulate appearances and therefore to control reality.Distributed for the Vancouver Art Gallery

Geography Lesson: Canadian Notes

Arts & Photography

Sekula, Allan

O’Brian, John

Vancouver Art Gallery

Dufour, Gary

Photography & Video

Mit Pr

<p>Presents two centuries of powerful, striking masks made by First Nations artists on the Pacific Northwest Coast. Some depict animals and supernatural creatures while others are human face masks representing ancestral spirits which descend from the heavens. The opening essay provides a look into the meaning and potency of masks from the viewpoint of a Native person, and the text surveys the four dimensions of the cosmos as perceived by the Native peoples of the Northwest Coast as well as underlying issues of aesthetics, art produced for sale, continuity and change, and the relations of artists to the market. Beautifully illustrated with 61 color and about 100 b&amp;w photographs. Annotation c. by Book News, Inc., Portland, Or.</p>

Down from the Shimmering Sky: Masks of the Northwest Coast

JOSEPH, Robert

Grenville, Bruce

MacNair, Peter

History & Criticism

Univ of Washington Pr

Emily Carr Book of Postcards Aa432

Pomegranate

Emily Carr 2010 Calendar (English and French Edition)

Calendars

Foreign Language

An inagural exhibition catalog for  the new Vancouver Art Gallery at Robson Square, October 15th to December 31st, 1983

Vancouver: Art and Artists, 1931-1983 an Inaugural Exhibition in Celebration of the Opening of the New Vancouver Art Gallery at Robson Square, October 15th to December 31st, 1983

The Single brushstroke: 600 years of Chinese painting from the Ching Yüan Chai Collection = Yi hua : Jing yuan zhai cang hua xuan

Trevor O. Carolan

<p>Gordon Appelbe Smith, painter and printmaker, was born in Sussex, England in 1919. He emigrated to Winnipeg, Manitoba with his family in 1933. In 1937 he studied at the Winnipeg School of Art. He exhibited for the first time in his career in 1938 with the Manitoba Society of Artists. Smith joined the Canadian infantry and was posted for service in Britain, Scotland, and then Sicily, where he was severely injured and was discharged from the army. In 1946 he graduated from the Vancouver School of Art and began teaching there a few months later. In 1947, Smith had a solo exhibition at the Vancouver Art Gallery. In 1951, he traveled to study at the California School of Fine Arts.In 1955, Gordon Smith won first prize at the first Biennial of Canadian Painting at the National Gallery of Canada for his painting Structure With Red Sun. In 1956, he joined the Faculty of Education at the University of British Columbia, and exhibited at the Guggenheim International show in New York. In 1961, he had his first commercial show at the New Design Gallery in Vancouver. In the 70's, Smith had several solo exhibitions at the Bau-Xi Gallery, Vancouver, and the Marlborough-Godard Gallery in Montreal and Toronto. In 1976, the Vancouver Art Gallery held a retrospective on Gordon Smith's work. In the 80's Smith continued to exhibit with Bau-Xi gallery in Vancouver and Mira Godard Gallery in Toronto. In 1994, Smith withdrew from the Bau-Xi Gallery to exhibit at the Equinox Gallery in Vancouver. In 1997, Gordon Smith had a retrospective exhibition at the Vancouver Art Gallery.In 1996, Gordon Smith was appointed to the Order of Canada. In 2001, he was appointed to the Order of B.C. for outstanding achievement. His works can be found in the collections of numerous Canadian and international museums, and corporate collections across Canada. He is regarded as one of the leading abstract artists in Canada today</p>

Gordon Smith: The act of painting

Hunter, Andrew

Thom, Ian M.

Smith, Gordon A.

Douglas&McIntyre

Lost illusions: Recent landscape art : Renee Green, Hachivi Edgar Heap of Birds, John Miller, Eleanor Bond, Lawrence Paul Yuxweluptun, Jeff Wall, Rasheed Araeen, Rodney Graham, Deborah Bright

Oleksijczuk, Denise

Themes

REBECCA BELMORE: Rising to the Occasion

Ritter, Kathleen

Houle, Robert

Augaitus, Daina

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