Jeffrey Rubinoff is one of the great sculptors in steel of the second half of the twentieth century. In the 1970s and '80s he exhibited widely in the United States and Canada alongside Anthony Caro, Mark di Suvero and George Rickey, among others. However, in the early 1990s Rubinoff withdrew from the art world altogether and concentrated on creating an extraordinary sculpture park on Hornby Island. This book is the first major account of his remarkable career. The Art of Jeffrey Rubinoff considers Rubinoff's life, work and ideas from a variety of perspectives. Barry Phipps describes Rubinoff's working methods; James Purdon examines the meanings that derive from Rubinoff's use of steel; Joan Pachner focuses on the formative influence of the abstract Expressionist sculptor David Smith on his work; Maria Tippett examines Rubinoff through the lens of the broader arts scene in postwar Canada; and Aaron Rosen attempts to understand Rubinoff's values and ambitions in light of his Jewish heritage. Other contributing scholars include Alistair Rider, Mark E. Breeze, Tom Stammers, Alexander Massouras, David Lawless and Peter Clarke. The book's foreword is written by the distinguished Yale historian Jay Winter. Drawing on interviews and correspondence with Rubinoff himself, as well as uncatalogued archives and unpublished documents in the artist's possession, The Art of Jeffrey Rubinoff makes available for the very first time a significant quantity of primary material, both textual and visual, for scholars and students of the future.

Contemporary artists are engaging more deeply than ever with religious imagery, themes, practices, and audiences. With a bracing, jargon-free style, Aaron Rosen--a leading scholar, art critic, and curator--takes readers into studios, galleries, and worship spaces as he paints a compelling picture of art and religion today. Focusing on individual artists, from eminent names to emerging stars, Rosen's essays and interviews tackle key questions, from how art might sustain communities to how it might offer new approaches to conflict resolution. Drawing on years spent developing relationships with artists around the globe--from Algeria to India to the United States--Rosen gets artists to talk, often for the first time, about how religion impacts their practice. Whether inspiring or unsettling, these brushes with faith challenge and invigorate the artists in question, and those who ponder the results. Replete with more than seventy color images of works ranging from video art to outdoor installations, this volume is indispensable reading for those looking to see contemporary art in a new light.

Beyond the Return of Religion: Art and the Postsecular explores the conceptual potential of the postsecular for investigations of (late) modern art and religion. Indicating a public co-existence and merging of religion and the secular, the postsecular is approached as an alternative to the return of religion narrative. Rather than framing artistic concerns with religion as a recurrence after temporary absence, Lieke Wijnia shows how the postsecular allows for seeing the interaction between art and religion as an enduring, albeit transforming relationship of mutual nature. Whereas secularization theories are intrinsically connected to modernity, the postsecular requires a pluralized perspective, covering the processes of secularization, diversification, and spiritualization. The postsecular reinforces the interconnectedness of these processes, which are, in turn, embodied in the concept’s interdisciplinary nature. While this book predominantly focuses on visual art and its institutional context of the museum, the postsecular has interdisciplinary relevance for broader artistic and academic disciplines.

Ryden was recently commissioned to create the set and costume design for a new production of Whipped Cream, put on by the American Ballet Theatre with choreography by Alexei Ratmansky. Whipped Cream is based on Schlagobers, a two-act ballet with libretto and score by Richard Strauss that was first performed at the Vienna State Opera in 1924. Premiered the MET new york, this ballet is already consider as a new classic masterpiece which would continue to be perform year after year. In partneship with Mark ryden and the crew of ABT, this book tells the story of this artistic journey. « A fantastical ballet of candyland delights » LA Times « A Sweetly Disturbing Confection » The New York Times « A Glutton's Fantasia" The Wall Street Journal

This ground-breaking new history of modern art explores the relationship between art and knowledge from the beginning of the twentieth century to the present day. Each chapter examines artistic responses to a particular discipline of knowledge, from quantum theory and theosophy to cybernetics and ethnic futurisms. The authors argue that art’s incursion into other intellectual disciplines is a defining characteristic of both modernism and postmodernism. Throughout, the volume poses a series of larger questions: is art a source of knowledge? If so, what kind of knowledge? And, ultimately, can it contribute to our understanding of the world in ways that thinkers from other fields should take seriously?

Postscript is the first collection of writings on the subject of conceptual writing by a diverse field of scholars in the realms of art, literature, media, as well as the artists themselves

"Published in conjunction with the exhibition Kesu': The Art and Life of Doug Cranmer, organized by the Museum of Anthropology at the University of British Columbia and showing from March 16, 2012."

Ken Danby (1940-2007) was one of Canada's foremost practitioners of contemporary realism. Rooted in the Canadian psyche, nourished by his Ontario rural roots, Danby's subject matter was broad and expansive, yet it was the images of Canadian landscapes and life that captured the public's attention. At the Crease, a 1972 egg tempera painting depicting a nameless hockey goalie viewed from ice-level, was his best-known work, and for many, it defined him as an artist. An accomplished painter, watercolourist, printmaker, and commercial artist, Danby's career began to unfold with a modernist narrative in the 1960s and 1970s. It intersected with the fervent nationalism expressed in the music of Ian and Sylvia Tyson, Gordon Lightfoot, and Joni Mitchell. According to art historian Patrick Hutchings, Danby's paintings bring us "face to face with a moment of our own time." Ken Danby: Beyond the Crease, the first major book on Ken Danby's creative practise in two decades, examines the depth and breadth of Danby's work. Designed to accompany a major retrospective exhibition organized by the Art Gallery of Hamilton, it features an essay by art historian Ihor Holubizky, a detailed chronology by Christine Braun, more than sixty reproductions of Danby&#s major paintings, including At the Crease, Lacing Up, Pancho, and Pulling Out, and dozens of archival photographs, as well as Danby's own words about his life and work drawn from an unpublished autobiographical essay that he completed shortly before his death. Danby's work is highly collectable and can be found in numerous private and public collections, including those of the Museum of Modern Art, New York; the National Gallery of Canada; the Musée des beaux arts, Montreal; the Art Gallery of Vancouver; the Art Institute of Chicago; and the Brooklyn Museum. Ken Danby became a member of the Order of Canada in 2001.

A collection of humorous essays about Vancouver Island’s unique quirks, from the south end to the north from beloved storyteller, Anny Scoones. Vancouver Island and the Gulf Islands have a reputation for their ineffable charisma, laid-back pace, and distinct grooviness. As Anny Scoones travels the length of our beloved Vancouver Island, and visits the little coastal and inland towns and iconic places, she shares her observations, musing on its fascinating and layered history. Whether it’s an account of the chainsaw carving festival in Campbell River, a take on the giant gnome just north of Nanoose Bay, or a description of folks met at the Foggy Mountain Fall Fair in Cumberland, this book takes us to extraordinary locations and introduces us to the people who make this part of the world so compelling. Observe, pause, ponder, and have what Anny likes to call “a little think” on the various characteristics and personalities of these areas. Whether you’re a Lycra-clad cyclist climbing the hills of Mayne Island, a slow food enthusiast besotted with “sexy” apples on Salt Spring Island, or someone dreaming about Vancouver Island as a potential destination, these essays and illustrations will connect you with people and places that seem curiously familiar.