![]() It is these sections that most clearly demonstrate Bovey’s voice, which is informative and analytic but can also be passionate, even personal.īovey looks at artists expressing landscape as place and as cultural construct. The bulk of the book, however, is thematic, connecting western artists across provinces and over time through their approaches to ideas and issues. She cites such examples as Ann Kipling’s delicate drawings, Reta Cowley’s luminous watercolours, prints by artists working through Winnipeg’s Grand Western Canadian Screen Shop and the innovative sculptures of Brian Jungen, created with ordinary consumer goods. She uses other approaches to organize her material, starting with a section that concentrates on medium and technique, grounding her discussion in the materiality of art and the development of visual languages. In this 2022 photo, artist Robert Houle talks about one of his works at WAG-Qaumajuq as part of his Robert Houle: Red Is Beautiful solo show. ![]() She begins with a brief chronological overview, mentioning pre-contact foundations, going on to early “itinerant” immigrant artists and exploring the gradual 20th-century expansion of professional art scenes in the main western cities.īovey is not hung up on timelines, however, which can be overly determined and which often slot art into narrow categories and discard what doesn’t quite fit. In their place, Bovey offers a complex flow of intertwining narratives that trace the development of visual art in the four western provinces. In this comprehensive new book, Patricia Bovey, an art historian, academic, gallery director and just-retired Manitoba senator, addresses this marginalization, not just by focusing on visual art in the West, but also by challenging the conventional structures and approaches that have historically divided art into the centre and the margins. Surveys of Canadian art have tended to focus on central Canada, with the western provinces often getting only a cursory look. ![]()
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