Ian Dejardin

From the Forest to the Sea: Emily Carr in British Columbia Ian Dejardin

Marc Notes: From the Forest to the Sea: Emily Carr in British Columbia accompanies an exhibition of the same name, running November 1, 2014-February 22, 2015 at Dulwich Picture Gallery in London and April 11-July 12, 2015 at the Art Gallery of Ontario in Toronto. The book and exhibition consider the work of Emily Carr and the art of the Indigenous peoples of Canada's Northwest Coast in relation to questions of place, belonging and identity.--; Provided by Publisher.; Co-published by Goose Lane Editions. Jacket Description/Flap: Emily Carr captures the natural and cultural landscapes of British Columbia like no other artist before or after her."From the Forest to the Sea: Emily Carr in British Columbia" gathers work from all phases of this extraordinary artist's career -- from her delicate early watercolours of the 1890s to her bold painterly hybrids of the 1930s and 1940s, which marry European and North American Modernist traditions with the formal stylizations of Indigenous design. Carr's lifelong fascination with British Columbia's original inhabitants transformed her. Visiting First Nations villages up and down the coast, she absorbed the essence of the place she loved so well. Those experiences changed her life and charged her work, inspiring her imagination. This monumental volume features more than 100 colour reproductions of Carr's work, including some of her most renowned paintings, in dialogue with dozens of Indigenous artifacts from the Pacific Northwest: historic masks, baskets and ceremonial objects by Haida, Kwakwaka'wakw, Nuu-chah-nulth, Salish, Tlingit and Tsimshian makers. Drawn from public and private collections, including the British Museum, the Pitt Rivers Museum at the University of Oxford, Horniman Museum and Gardens, and the Museum of Anthropology at the University of British Columbia, these artifacts illuminate Carr's connections to Indigenous cultures and allow readers to contemplate the attachment to landscape from both European and Indigenous perspectives. Publisher Marketing: Emily Carr captures the natural and cultural landscapes of British Columbia like no other artist before or after her. This major volume, designed to accompany an exhibition organized by the Dulwich Picture Gallery in London and the Art Gallery of Ontario in Toronto, gathers work from all phases of this extraordinary artist's career -- from her delicate early watercolours of the 1890s to her expressive hybrids of the 1930s and 1940s, which carry European and North American Modernist traditions with the formal stylizations of Indigenous design. Carr's lifelong fascination with British Columbia's original inhabitants transformed her. Visiting First Nations villages up and down the coast, she absorbed the essence of the place she loved so well. Those experiences changed her life and charged her work, inspiring her imagination. This monumental volume features more than 100 colour reproductions of Carr's work, including some of her most renowned paintings, in dialogue with dozens of indigenous artifacts from the Pacific Northwest: historic masks, baskets, and ceremonial objects by Haida, Kwakwaka'wakw, Nuu-chah-nulth, Salish, Tlingit, and Tsimshian makers. Drawn from public and private collections, including the British Museum, the Pitt Rivers Museum, Horniman Museum and Gardens, and the Museum of Anthropology at the University of British Columbia, these artifacts illuminate Carr's connections to Indigenous cultures."From the Forest to the Sea" features written contributions by Toronto writer and art critic Sarah Milroy; Ian Dejardin, Director of Dulwich Picture Gallery (London); acclaimed contemporary artists Peter Doig and Jessica Stockholder; leading Carr scholars Ian Thom, Charles Hill, Kathryn Bridge, and Gerta Moray; Haida hereditary chief and master carver James Hart; Kwakwaka'wakw artists Corrine Hunt and Marianne Nicolson; and anthropologists Robert Storrie and Karen Duffek. Together, they illuminate Carr ' immense legacy and the connections to First Nations culture that inspired her work. Review Citations: Quill & Quire 05/01/2015 pg. 34 (EAN 9780864928696, Hardcover) Contributor Bio:  Dejardin, Ian Ian A. C. Dejardin is the Sackler Director of Dulwich Picture Gallery, London. Born in Edinburgh, Scotland, he graduated with an MA (Hons) in History of Art from Edinburgh University. From 1990 to 1997, he was English Heritage's Curator of Paintings for the London region, having started his career at the Royal Academy of Arts. Appointed Curator at Dulwich in 1997, he became the gallery's Director in 2005. Presiding over a varied and international exhibition program, he has also continued to curate exhibitions himself, most recently "Painting Canada: Tom Thomson and the Group of Seven" (2011). Contributor Bio:  Milroy, Sarah Sarah Milroy est une ecrivaine et critique d'art de Toronto. Elle fut redactrice en chef et editrice du magazine "Canadian Art" de 1991 a 1996 et critique d'art pour le "Globe and Mail" de 2001 a 2012. Milroy a contribue a des publications sur les uvres de Gathie Falk, Jack Chambers, Greg Curnoe et Fred Herzog, et elle contribue regulierement aux revues "Canadian Art, Border Crossings" et "The Walrus". Contributor Bio:  Carr, Emily Beloved Canadian artist and writer Emily Carr (December 13, 1871--March 2, 1945) was born in Victoria, British Columbia. She studied art in the U. S., England and France until 1911, when she moved back to British Columbia. Carr was most heavily influenced by the landscapes and First Nations cultures of British Columbia and Alaska. In the 1920s she came into contact with members of the Group of Seven and was later invited to submit her works for inclusion in a Group of Seven exhibition. They named her The Mother of Modern Arts about five years later. Contributor Bio:  Teitelbaum, Matthew Matthew Teitelbaum is the Michael and Sonja Koerner Director and CEO of the Art Gallery of Ontario. Contributor Bio:  Hart, James James Hart is a Haida hereditary chief and a contemporary master carver, living in Old Masset, Haida Gwaii, and in Vancouver, BC. Hart has done many private and public commissions, including "The Three Watchmen" (2012) in Ottawa, two poles for the Museum of Anthropology at the University of British Columbia (1982 and 1999), and, most recently, "The Dance Screen", for the Audain Art Museum in Whistler, BC. Contributor Bio:  Stockholder, Jessica Internationally celebrated artist Jessica Stockholder was raised in Vancouver, BC. She is the former Director of Graduate Studies in Sculpture at Yale University and is currently Chair of the Department of Visual Arts at the University of Chicago. Her work is held in the collections of many prominent museums around the world. Contributor Bio:  Storrie, Robert Robert Storrie is currently Keeper of Anthropology at the Horniman Museum and Gardens, London. Prior to this he was Curator of the North American Collections at the British Museum. He has a long-standing interest in hunter-gatherer cosmologies and ecologies, looking especially at taxonomy and classification. Contributor Bio:  Moray, Gerta Gerta Moray has spent more than two decades tracing Emily Carr's career and her relationship with the First Nations of British Columbia. Her publications include a major award-winning study, "Unsettling Encounters: First Nations Imagery in the Art of Emily Carr" (2006), and "Harold Town: Life and Work" (Art Canada Institute, 2014), as well as numerous articles in journals, monographs, and exhibition catalogues. She is Professor Emerita at the University of Guelph and holds an MA from Oxford University, a Postgraduate Diploma from the Courtauld Institute, London, and a PhD from the University of Toronto. Contributor Bio:  Hill, Charles Charles Hill has worked for the National Gallery of Canada since 1972 and has been the gallery's Curator of Canadian Art since 1980. His exhibitions include "Canadian Painting in the Thirties" (1975); "John Vanderpant: Photographs" (1977); "To Found a National Gallery: The Royal Canadian Academy of Arts, 1880-1913" (1980); "Morrice: A Gift to the Nation; The G. Blair Laing Collection" (1992); "William Kurelek" (1992); "The Group of Seven: Art for a Nation" (1995) "Tom Thomson" (2002); "Emily Carr: New Perspectives on a Canadian Icon" (2006); and "Artists, Architects and Artisans: Canadian Art, 1890-1918" (2013). Hill was appointed a Member of the Order of Canada in 2000 and received an honorary doctorate from Concordia University, Montreal, in 2007. Contributor Bio:  Nicolson, Marianne Marianne Nicolson is a member of the Dzawada'enuxw Tribe of the Kwakwaka'wakw First Nations. She holds a Masters in Fine Arts and a PhD in Linguistics and Anthropology, both from the University of Victoria. Her work has been exhibited at institutions including the Vancouver Art Gallery; the National Gallery of Canada, Ottawa; the Canadian Museum of Civilization (now the Canadian Museum of History), Gatineau, Quebec; and the Biennale of Sydney, Australia. Contributor Bio:  Thom, Ian Ian Thom is Senior Curator-Historical at the Vancouver Art Gallery, a position that he has held since 1988. Previously he held senior curatorial positions at the McMichael Canadian Art Collection in Kleinburg, Ontario, and the Art Gallery of Greater Victoria. He has organized more than 100 exhibitions on Canadian and international art and has published extensively on Canadian art, including monographs on David Milne, Emily Carr, Robert Davidson, Takao Tanabe, Gordon Smith, Arthur Lismer, E. J. Hughes, and Maxwell Bates. Thom has lectured extensively and consulted with many museums regarding their collections and collecting policies. He is widely recognized as an authority on the work of Emily Carr. Thom is a Member of the Order of Canada. Contributor Bio:  Doig, Peter Peter Doig is a critically acclaimed painter who spent many of his formative years in Canada. He now divides his time between Trinidad, London, and New York. Doig received his artistic training at the Wimbledon School of Art, St. Martin's School of Art, and Chelsea School of Art in London. His work has been celebrated in solo exhibitions at Tate Britain; the National Galleries of Scotland (and the Montreal Museum of Fine Arts); Muse d'art moderne de la Ville de Paris; the Morris and Helen Belkin Art Gallery, Vancouver (and the Power Plant, Toronto); Pinakothek der Moderne, Munich; and Fondation Beyeler, Basel. Raised in Scotland, Trinidad, and Canada, Doig is the inheritor of many painting traditions -- from the European art of Edvard Munch, Paul Gauguin, Pierre Bonnard, and Henri Matisse to the Canadian paintings of David Milne, James Wilson Morrice, and Tom Thomson. Contributor Bio:  Duffek, Karen Karen Duffek is the Curator of Contemporary Visual Arts and Pacific Northwest at the Museum of Anthropology (MOA) at the University of British Columbia. Her research focus lies both in the history of MOA's Northwest Coast Aboriginal collections -- including connecting and documenting historical objects with descendants and originating community members -- and in the relationship of twentieth-century and contemporary art to cultural practice. Her publications include the books "Bill Reid and Beyond: Expanding on Modern Native Art" (co-edited with Charlotte Townsend-Gault, 2004) and "The Transforming Image: Painted Arts of Northwest Coast First Nations" (co-authored with Bill McLennan, 2000). Contributor Bio:  Bridge, Kathryn Kathryn Bridge is an archivist and historian who lives in Victoria, BC. She has written several books about pioneers in British Columbia, including "By Snowshoe, Buckboard and Steamer" (winner of the 1998 Lieutenant-Governor's Medal for Historical Writing)and "Phyllis Munday: Mountaineer" (a finalist at the Banff Mountain Book Festival and a runner-up for the Van City Book Prize). Over the years she and her family have explored, camped and boated in many of the coastal areas of Vancouver Island. Contributor Bio:  Hunt, Corrine Corrine Hunt is a Kwakwaka'wakw artist, acclaimed for her contemporary jewellery, metalwork, and furniture that reflect both her cultural past and her present. Born and raised in Alert Bay, she is the descendant of a venerable family of Indigenous leaders and creators, starting with her great-great grandmother Anisalaga (Mary Ebbets Hunt), a noted weaver of blankets and a Tlingit woman of high rank. Anisalaga married the Englishman Robert Hunt, and moved down the coast with him to Fort Rupert. Corrine Hunt's great-grandfather George Hunt provided knowledge, access, and assistance to anthropologist Franz Boas in his explorations of Kwakwaka'wakw culture. George Hunt met Emily Carr in 1930, and they corresponded briefly. Corrine's uncle Henry Hunt and her many singing, dancing, carving, and writing cousins continue to expand on her family legacy today. Corrine Hunt divides her time between Vancouver, Fort Rupert, and Alert Bay.