Sculpture in Canada
A History
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- $26.99
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- $26.99
Publisher Description
Found in public spaces and parks, art galleries and university buildings, along riverbanks as well as in city squares, private gardens and even underwater, Canadian sculpture encompasses a range of materials and styles from traditional bone and bronze to postmodern multimedia installations. As this book demonstrates, artistic intentions among the nation's sculptors, whether political, social, theoretical or aesthetic, are as diverse as Canada itself.
The distinguished cultural historian Maria Tippett begins this richly illustrated study of Canadian sculpture in 13,000 BCE by examining a handcrafted shard found in the Bluefish Caves of the Yukon and proceeds to consider Inuit and First Nations sculptural practices alongside those of Euro-Canadians. Dr. Tippett begins with traditional forms such as totem poles and liturgical carvings before moving along to the landmark EXPO 67 exhibition and other significant events, concluding with the postmodern artists who, with "a relentless striving for the new" work within new technological realms such as 3D modelling and virtual reality spaces.
Dr. Tippett's survey evinces an avid interest in the logistics of sculpture, exploring the ways in which the medium demands more space, time, money and material to produce and exhibit than disciplines like drawing and painting. The result is that in Canadian sculpture, more than in other artistic practices, complex social, economic and cultural forces have interacted with the pure inspiration of artists in their studios.
Sculpture in Canada is a groundbreaking work that will have a profound impact in introducing readers to the underappreciated wealth of this most public of Canadian arts.
PUBLISHERS WEEKLY
Art historian Tippett (Emily Carr: A Biography, winner of a 1979 Canadian Governor-General's Award) provides an enlightening survey of sculpture in Canada, from prehistoric times to the present. She begins by examining ancient carvings, such as a miniature mask made by an unknown pre-Inuit artist around 1500 BCE, as art objects rather than simply as artifacts. Moving forward into Canadian history, she highlights commemorative sculptures of Canadian involvement in war efforts (including Walter Allward's iconic memorial at Vimy Ridge), sculptures designed for Montreal's Expo 67 and Canada's centennial, postmodernist art, and 21st-century multimedia projects. The book explores the historical circumstances under which sculpture has been created, such as the demand for Inuit sculpture that grew in the 1950s and its effects on the art and artists. It also assesses the reception of sculpture by galleries, critics, and the wider public, including the uproar over Jana Sterbak's 1987 work Vanitas, a "flesh dress" made of raw flank steak. Tippett considers the influence of the church, governments, and special interest groups on the work of sculptors, noting that the size and expense of large sculptures means that they may be more affected by cultural, economic, and political forces than other mediums such as drawing or painting. Beautifully illustrated with large color photos throughout, this is an insightful book written in an accessible style suitable for casual readers as well as art lovers.
