Catalogue of paul fournier

PAUL FOURNIER

Realms of Being / Univers de l’existence

paul fournier

HAN ART

PAUL FOURNIER Realms of Being Univers de l’existence Paintings / Tableaux

essays by / textes par

Karen Wilkin Roald Nasgaard

This catalogue is published for the exhibition of Paul Fournier’s work at Han Art Gallery, Montreal, Canada.

Ce catalogue est publié pour l’exposition de l’Œuvre de Paul Fournier à la Galerie Han Art, Montréal, Canada.

HAN

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On Paul Fournier Karen Wilkin

Fifteen years ago, Paul Fournier’s canvases seemed typical of his generation of Toronto painters. Like his colleagues K. M. Graham, Daniel Solomon, Paul Hutner and David Bolduc, Fournier demonstrated an almost Fauvist sense of color and an ability to be both playful and lyrical in the same picture. Like them, too, he clearly admired Matisse and Jack Bush. Yet Fournier’s pictures were and have remained stubbornly personal, in a challenging territory of his own, a narrow zone between reference and invention.

Fournier’s ambiguous images assert his dedication to abstraction, yet they remind us that he is a master draughtsman and graphic artist, capable of meticulous realism. It’s not that he dissembles a naturalist impulse. Rather, his pictures operate simultaneously in several ways. In the 1970s, declarative expanses of color also suggested windows with distant landscape views, calligraphic swirls also evoked cascades of foliage, and stiffer drawing both contained interior incidents and conjured up window frames and balconies. More recently, “foliage” drawing has read simply as polychrome loops and whorls, rather than as plant life, as in a series inspired both by sound and by the appearance of musical notation. But a sense of motion, of growth, persists. Sometimes, in pictures that seem equally about the concept of all-overness and cosmic oppositions of tempest and calm, dark and light, drawing is submerged by sheets of diaphanous color, while at others, buried flourishes are allowed to break through the enveloping pigment to set up new rhythms and call up new associations.

Fournier’s viewpoint varies, so that we feel engulfed by aggressive undersea life or lost in a tropical garden, stand comfortably at a wild flung window or float, like figures in a Tiepolo ceiling, into a limitless skyscape. But Fournier’s passionate dialogue with both nature and the stuff of painting links even his most diverse works. No matter how potent the allusion, Fournier, as a highly intuitive artist with a profound belief in the expressive power of his materials, always makes us aware of the sensuality of paint, the excitement of the act of painting. His best works continue to be joyous metaphors for intense feelings about the natural world, filtered through experience of the painters he admires most, and translated into a non-specific language of gesture, inflection and color.

Published in Canadian Art 67, summer 1991

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Voices of Spring 2012 48” x 94-3/4” Acrylic on canvas / Acrylique sur toile

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À propos de Paul Fournier Karen Wilkin

Il y a quinze ans, Paul Fournier produisait des toiles typiques de sa génération de peintres torontois. À l’instar de ses collègues K. M. Graham, Daniel Solomon, Paul Hutner et David Bolduc, Fournier manifestait un sens de la couleur presque fauviste, ainsi qu’une capacité à intégrer le jeu et le lyrisme dans un même tableau. Comme eux aussi, il était un fervent admirateur de Matisse et de Jack Bush. Pourtant, les peintures de Fournier étaient, et sont demeurées, obstinément personnelles dans un territoire stimulant propre à l’artiste, une zone étroite entre la référence et l’invention.

Les images ambivalentes de Fournier le confirment en tant que peintre abstrait, mais elles nous rappellent également qu’il est un maître du dessin et du graphisme capable d’un réalisme méticuleux. Ce n’est pas qu’il dissimule une impulsion naturaliste. C’est plutôt que ses tableaux se situent simultanément sur plusieurs plans. Au cours des années 1970, des étendues expressives de couleur suggéraient également des fenêtres donnant sur des paysages lointains, des tourbillons calligraphiques évoquaient des cascades de feuillages, et des dessins plus rigoureux évoquaient tant des bouleversements intérieurs que des visions de cadres de fenêtres et de balcons. Plus récemment, le dessin de « feuillage » était simplement perçu comme des boucles et verticilles polychromes plutôt qu’en tant que vie de la végétation, comme dans une série inspirée par le son et l’apparence d’une transcription musicale. Toutefois, un sentiment de mouvement, de croissance, persiste. Parfois, dans des tableaux qui semblent se partager également le concept d’englobalisation et les oppositions cosmiques de la tempête et du calme, de l’obscurité et de la lumière, le dessin est submergé par des couches de couleurs diaphanes, alors que dans d’autres, des éclosions enfouies ont la possibilité de rompre leur enveloppe de pigment pour établir des rythmes nouveaux et former des associations qui n’existaient pas auparavant.

La perspective de Fournier est changeante. Nous nous sentons alors engloutis dans une rude vie sous-marine, ou perdus dans un jardin tropical, ou confortablement installés à une fenêtre grande ouverte, ou encore nous flottons comme les personnages d’un plafond de Tiepolo, dans un paysage céleste sans limites. Mais le dialogue passionné de Fournier avec la nature et la matière de la peinture relie même ses œuvres les plus dissemblables. Peu importe la puissance de l’allusion, Fournier, artiste extrêmement intuitif animé d’une profonde croyance dans l’expressivité de ses matériaux, nous sensibilise constamment à la sensualité de la peinture, à l’émerveillement de l’acte de peindre. Ses meilleures œuvres persistent dans le rôle de joyeuses métaphores de sentiments intenses inspirés par le monde naturel, filtrées par l’expérience des peintres qu’il admire le plus, et traduites en un langage qui s’exprime simplement par le geste, la modulation et la couleur.

Article publié dans Canadian Art 67, été 1991 4

Out of Blue 2012 48” x 94” Acrylic on canvas / Acrylique sur toile

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Toronto: EXotic Modernism after 1970 Roald Nasgaard

Paul Fournier (b. 1939)

Fournier participated in Toronto Painting: 1953-1965 with two works, one a fairly traditional landscape, the other a semi abstract dominated by a huge, bulging, central roundish shape that no doubt owed something to William Ronald. Fournier had come to Toronto as a student in 1959 (he studied briefly at OCA) and was impressed by the work of the artists around the Isaacs Gallery.

His affinities with the third-generation abstract modernists began in the 1970s, when he thinned his paint and upped the clarity of his colour. Fournier’s Florida Mirror series from 1976-77 does its Matissian duty by reviving a popular early Fauvist motif, the view out a window seen across a foreground plethora of plant and other still-life objects. Fournier reformulated it, Wilkin wrote, “based upon uncompromising 1970’s assumptions about painting as a continuous surface.” Fournier’s flamboyant Fauvist paintings hothouse blooms in cold climate, qualified him as one of Kuspit’s “exotic modernists,” but for all their decorative panache they cannot quite dispel the pall of derivativeness. The paintings that followed, which Fournier claimed to be directly inspired by music, disperse their sweeps and drags of the bush and their taches of high-keyed colour as if they were lily pads on the surface of Monet’s pond at Giverny.

Adapted from Abstract Painting in Canada, chapter 10, Toronto: Exotic Modernism after 1970, Roald Nasgaard, Douglas & McIntyre Ltd and Art Gallery of Nova Scotia.

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Domain of Wonders 2015 48” x 96” Acrylic on canvas / Acrylique sur toile

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Toronto: EXotic Modernism after 1970 Roald Nasgaard

Paul Fournier (1939 – )

Fournier a participé à l’exposition La peinture torontoise : 1953-1965, représenté par deux œuvres; sur la première figurait un paysage assez traditionnel, et l’autre était une peinture semi-abstraite au centre de laquelle dominait une énorme forme circulaire saillante, dont l’inspiration n’était certainement pas étrangère à l’œuvre de William Ronald. Fournier est arrivé à Toronto en 1959 pour y étudier (il a fait un bref passage à l’Ontario College of Art), et il a été impressionné par les œuvres des artistes de l’Isaacs Gallery. Ses affinités avec les modernistes abstraits de la troisième génération se sont manifestées au cours des années 1970, après qu’il a éclairci sa peinture et rehaussé la précision de ses couleurs. Sa série intitulée Florida Mirror de 1976-1977 remplit sa fonction « matissienne » en ravivant un motif fauviste connu de la première heure, soit la vue d’une fenêtre devant laquelle on aperçoit une pléthore de plantes et de natures mortes. Karen Wilkin a écrit que Fournier l’avait reformulée « d’après des postulats sans compromis des années 1970 à propos de la peinture considérée comme une surface continue ». Les tableaux fauvistes flamboyants de Fournier s’épanouissent comme dans une serre chaude au sein d’un climat nordique; cette image lui a valu de figurer parmi les « modernistes exotiques » de Kuspit, mais en dépit de tout ce panache ornemental, ces toiles n’arrivent pas à complètement dissiper le voile de la dérivativité. Dans les peintures qui ont suivi, que Fournier affirme lui avoir été inspirées directement par la musique, les courbes et les traits ainsi que les taches de couleurs vives se dispersent à la manière des nénuphars flottant sur l’étang de Monet à Giverny.

Texte adapté d’Abstract Painting in Canada, chapitre 10, Toronto: Exotic Modernism after 1970, Roald Nasgaard, Douglas & McIntyre Ltd et Musée des beaux-arts de la Nouvelle-Écosse.

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Voices of the Reef 2015 32” x 72” Acrylic on canvas / Acrylique sur toile

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Illumined Realm 2015 54-1/2” x 36” Acrylic on canvas / Acrylique sur toile

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Autumn Glory 2011 28” x 28” Acrylic on canvas / Acrylique sur toile

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Maui Red 2012 30” x 24” Acrylic on canvas / Acrylique sur toile

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Chyomi Summer 2012 30” x 24” Acrylic on canvas / Acrylique sur toile

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Of Seasons Past 2015 40” x 30” Acrylic on canvas / Acrylique sur toile

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Golden Spring 2015 30” x 24” Acrylic on canvas / Acrylique sur toile

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Paul Fournier 1939 1967-68

1969-70

Born in Simcoe, Ontario Invited guest of Professor George Wallace to study printmaking at McMaster University Artist in residence at Waterloo Lutheran University

Individual exhibitions / Expositions individuelles 2015 Han Art Gallery, Montréal, Realms of Being /Univers de l’existence (catalogue) 2013 Miriam Shiell Fine Art, Toronto, Beneath and Beyond 2010 Miriam Shiell Fine Art, Toronto, Being and Becoming

(catalogue) 2008 Thielson Gallery, London, Ontario

Miriam Shiell Fine Art, Toronto, Recent Paintings (catalogue) 2007 Commissart, Oakville, Ontario,

A Sense of Time – A Sense of Place 2006, 05, 04 Moore Gallery, Toronto 2001, 1999 Westdale Gallery on Augusta, Hamilton, Ontario 1999, 97, 95 Mira Godard Gallery, Toronto 1994 Douglas Udell Gallery, Vancouver 1993 Mira Godard Gallery, Toronto 1991 Klonaridis Inc., Toronto Westdale Gallery, Hamilton, Ontario 1987, 85, 84 Elca London Gallery, Montréal 1986, 84 Woltjen/Udell Gallery, Edmonton 1985, 84, 82 Klonaridis Inc., Toronto 1984 Lynnwood Arts Center, Simcoe, Ontario 1983 Klonaridis Inc., Toronto, Sails, Sea, Shells & Shore 1982 Guelph, Ontario; Charlottetown, P.E.I; Oshawa, Ontario;

Windsor, Ontario; Winnipeg, Manitoba; Saskatoon, Saskachewan, Bridges: Paul Fournier/Robert Daigneault 16

Oasis 2015 39-1/2” x 46” Acrylic on canvas / Acrylique sur toile

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Klonaridis Contemporary Art Inc., New York 1980 Diane Brown Gallery, Edmonton

Watson/Willour & Co., Houston, Texas

Klonaridis Inc., Toronto, An Exhibition of Recent Paintings

Art Gallery of Ontario, Extension Services, Contact 1979 Downstairs Gallery, Edmonton

Klonaridis Inc., Toronto 1978 Diane Brown Gallery, Washington, DC 1977 David Mirvish Gallery, Toronto 1974 The University of Guelph, Mushroom Works on Paper (catalogue) 1972 The Art Gallery of Hamilton, Mushroom Works on Paper 1971, 72, 74 The Pollock Gallery Ltd., Toronto 1969 The University of Guelph, Paul Fournier: Paintings and Graphics 1962 – 1969 (catalogue) 1968, 66, 64, 63 The Pollock Gallery Ltd., Toronto 1963, 64, 62 Westdale Gallery, Hamilton, Ontario 1959 YMCA Buffalo, New York

1992, 91 Seattle Art Fair, Seattle, Washington 1987 Los Angeles Art Fair, L.A., Woltjen/ Udell Gallery 1986 Wade Gallery, L.A., Selected Works by Contemporary

Canadian Artists 1984 Justine M. Barnicke Gallery, Hart House, University of Toronto, Hearts 1983 Watson de Nagy & Co., Houston Texas

Art Gallery of Ontario, Toronto, Critic’s Choice

Community Gallery, Harbourfront, Toronto,

Art Bank at Work 1982 Canada House, London, Paris, Brussels, Liverpool,

Recent Paintings: David Bolduc, Paul Fournier, K.M. Graham 1981 Art Gallery of Hamilton, View Point: Twenty-Nine by Nine

1980 Glenbow Museum, Calgary, AB,

Aspects of Canadian Art of the Seventies

Art Gallery of Brantford, ON, Show of Klonaridis Inc.

Cutler-Stavarids Gallery, Boston

Watson/ Willour & Co., Houston, TX,

Paul Fournier, Recent Paintings Selected collective exhibitions / Sélection d’expositions

Andre Emmerich Gallery, New York, collectives

The New Generation: A Curator’s Choice 2014, 13, 12 Toronto International Art Fair, Miriam Shiell Fine Art 1978 Edmonton Art Gallery, Edmonton, Certain Traditions 2013 Regis College, University of Toronto, Painting Spirituality – 1977 Diane Brown Gallery, Washington, D.C.,

Four Toronto Painters

Nature Abstraction Embodiment

David Mirvish Gallery, Toronto 2011 Museum of New New Painting, Toronto, Innovation after

First Canadian Place, Toronto, Articipation

Abstract Expressionism: Toronto 1971 – 2011

Bologna Art Fair, Bologna, Italy

Toronto School of Theology, Toronto,

Hirshhorn Museum and Sculpture Garden, Washington,

Art and Theology in dialogue – Concerning the Spiritual in Art 2009, 08, 07 Toronto International Art Fair, Miriam Shiell Fine Art D.C., 14 Canadians: A Critic’s Choice Edmonton Art Gallery, Edmonton, AB, New Abstract Art 2005 Canadian Artists in Bogota, Columbia, S.A. United States Embassy, Ottawa, ON, 2002 Toronto International Art Fair, Douglas Udell Gallery

Eighteen Contemporary Masters 1998 Vancouver Arts Fair, Douglas Udell Gallery Edmonton Art Gallery, Edmonton, AB, Fauve Heritage 1994 Kleinberg, Ontario, Hidden Values

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Green Amazonas 2012 70-1/2” x 46-1/2” Acrylic on canvas / Acrylique sur toile

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1976

Galerie Wentzel, Hamburg, West Germany, Works on Paper Watson/ de Nagy & Co., Houston, TX, Six from Toronto National Gallery, Ottawa, Queen’s Silver Jubilee Exhibition David Mirvish Gallery, Toronto, January 10 - February 4, A Selection of Painting in Toronto Kitchener-Waterloo Art Gallery, Art Gallery of Hamilton,

Ontario Now Art Gallery of Ontario, Toronto, March 5 - April 6,

Drawing & Sculpture David Mirvish Gallery, Toronto, June 5 -30 Montreal Olympics, July; Stratford Gallery, September, Abstractions, an Exhibition of Current Abstract Painting and Sculpture in the Province of Ontario1975 University of Guelph, Ontario, Made in Canada

1972 The Art Gallery of Hamilton

36th Biennale of Art, Venice

National Gallery, Ottawa, Toronto Painting 1953-1965

Museum of Modern Art, Rijeika, Yugoslavia,

Third International Exhibition of Drawings Owens Art Gallery, Mount Allison University, Sackville,

New Brunswick, 12 x 12

The Edmonton Art Gallery, The Norman MacKenzie Art Gallery, Diversity, Canada East 1971 Gallery West, Buffalo, New York

Binghamton, New York, A Festival of Canada 1970 Scarborough College, University of Toronto, Exhibition

with K.M. Graham The Art Gallery of Hamilton

Paul Fournier at the Hirshhorn Museum and Sculpture Garden, in Washington, D.C., for the exhibition Fourteen Canadians: A Critic’s Choice, curated by Andrew Hudson. From left to right: Dan Solomon, Paul Fournier, David Bolduc, Paul Sloggett, Howard Simkins, Alex Cameron, K. M. Graham and Jack Bush.

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Tropic Presence 2012 48” x 36” Acrylic on canvas / Acrylique sur toile

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1969 Union Carbide Building, New York, Young Artists Exhibit 1968 IBM Gallery, New York, Third International Miniature Print Exhibit Montreal Museum of Fine Arts

Wells Gallery, Ottawa, Paul Fournier & Charlotte Brainerd 1967 Art Gallery of Ontario, Toronto,

The Ontario Centennial Art Exhibition The Art Gallery of Hamilton National Gallery of Canada, Ottawa,

Canadian Society of Graphic Art, 34th Annual Exhibition 1966 National Gallery of Canada, Ottawa,

Canadian Watercolours, Drawings & Prints, 1966 1963 Art Gallery of Ontario, Toronto,

Canadian Society of Graphic Art, 30th Annual Exhibition 1962, 63 The Art Gallery of Hamilton 1961 McMaster University, Hamilton Awards / Prix 1996 Honourary Doctor of Laws, Sir Wilfrid Laurier University, Waterloo, Ontario 1977 Hadassah Art Auction (First Prize) 1966 Hadassah Art Auction (Second Prize) 1964 Hadassah Art Auction (First Prize) Public Collections / Collections publiques National Gallery of Canada, Ottawa, ON Art Gallery of Ontario, Toronto, ON Museum of Contemporary Canadian Art, Toronto, ON Museum London, London, ON Art Gallery of Hamilton, Hamilton, ON McMaster Museum of Art, Hamilton, ON Art Gallery of Peterborough, Peterborough, ON

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Art Gallery of Windsor, Windsor, ON Art Gallery of Mississauga, Mississauga, ON Stratford Art Gallery, Stratford, ON Art Gallery of Peel, Brampton, ON Art Gallery of Algoma, Sault Ste. Marie, ON Musee d’Art Contemporain de Montreal, Montreal, QC Beaverbrook Art Gallery, Fredericton, NB Art Gallery of Newfoundland & Labrador, St. John’s, NF Edmonton Art Gallery, Edmonton, AB Glenbow Museum, Calgary, AB Mendel Art Gallery, Saskatoon, SK Hirshhorn Museum & Sculpture Garden, Washington, D.C. McMullen Museum, Boston College, Chestnut Hill, Massachusetts Canada Council Art Bank Collection, Ottawa, ON City of Toronto Art Collection, City Hall, Toronto, ON Carleton University Art Gallery, Ottawa, ON University of Toronto, Toronto, ON Agnes Etherington Gallery, Queen’s University, Kingston, ON The University of Guelph, Guelph, ON Laurentian University, Sudbury, ON Sir Wilfred Laurier University, Waterloo, ON MacLaren Art Centre, Barrie, ON MacDonald Stewart Art Centre, Guelph, ON Tom Thomson Memorial Art Gallery, Owen Sound, ON George Brown College, Toronto, ON Ontario Institute for Studies in Education, Toronto, ON Fanshawe College, London, ON Gairloch Gardens Gallery, Oakville, ON Baycrest Centre for Geriatric Care, Toronto, ON Rodman Hall Art Centre, St. Catharines, ON Sir George Williams University, Montreal, QC Memorial University Art Gallery, St. John’s, NF Alberta College of Art & Design, Calgary, AB

Radiant Deep 2015 36” x 54” Acrylic on canvas / Acrylique sur toile 23

University of Lethbridge, Lethbridge, AB Bethel College, St. Paul, Minnesota Kenderdine Art gallery, University of Saskatchewan, Saskatoon, SK Simon Fraser Univrsity Art gallery, Burnaby, BC State University of New York at Buffalo, Buffalo, New York Houghton College, Houghton, New York Ithaca College, Ithaca, New York University of Maine Museum of Art, Orono, Maine University Art Gallery, University of Delaware, Newark, Delaware New England College Gallery, Henniker, New Hampshire Georgetown University Art Collection, Washington, D.C. Gonzaga University, Spokane, Washington, DC Bentley College, Waltham, Massachusetts Gordon College, Wenham, Massachusetts Anderson College, Callie Stringer Rainey Fine Arts Centre, SC Wake Forest University, Scales Fine Art Center, Winston Salem, NC Emison Art Center, Depauw University, Greencastle, Indiana Grinnell College Art Gallery, Grinell, Iowa Hope College, Holland, Michigan Abilene Christian University, Abilene, Texas Louisiana State University, Baton Rouge, Louisiana Biola University, La Mirada, California University of California, San Diego, La Jolla, California Galerie Piltzer, Theims, PARIS Corporate Collections / Collections privées Almar Industries, Toronto Alphatext Ltd., Ottawa American Can. Co., Conn.

Blake Cassels & Graydon LLP, Toronto Borealis Capital, Toronto Can. development Corp., Toronto

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Chedoke-McMaster Hospitals – MUMC Division, Hamilton, ON Cineplex, Centre Mall, Hamilton, Ontario Citicorp Ltd., First Canadian Place, Toronto Constellation Hotel Ltd, Toronto Davies, Ward & Beck, Toronto Deutsche Bank, Toronto Dominion Securities Corp., Toronto First Marathon Securities, Toronto Gowling, Strathy and Henderson, Toronto Greenwin Construction, Toronto IBM, Toronto IMCO Designs, Toronto Imperial Life Insurance Company, Toronto International Play Group, New York, N.Y. Kimelman & Baird, New York, N.Y. L’Hotel, Toronto Lenczner, Slaght, Royce, Smith and Griffin, Toronto McCarthy Tétrault, Toronto Montreal Trust Company, Toronto Morgan Guaranty Trust, New York, N.Y. National Westminister Bank, Toronto North York Board of Education, Toronto Pan Pacific Hotel, Vancouver, B.C. Polysar Ltd., Sarnia, Ontario Price Waterhouse, Toronto Richardson Securities of Canada, Toronto Royal Bank of Canada, Toronto Sage International Consultants, Toronto Scotiabank, Toronto Rio Tinto Alcan, Montreal, Quebec Shell Canada, Calgary, Alberta Sifton Construction, Toronto The Granite Club, Toronto

Redemption 2015 30” x 40” Acrylic on canvas / Acrylique sur toile 25

Thornton Grout Finnigan, Toronto Toronto Dominion Bank Art Collection, Toronto Tory Tory Deslauriers & Binninington, Toronto United Dominions Ltd., Toronto Urwick, Currie, Toronto Wellesley Hospital, Toronto Westburne Industries, Montreal, Quebec Books and Catalogues / Livres et catalogues The Ontario Centennial Art Exhibition, plate 161, Province of Ontario Council for the Arts. 1968-1969, introduction by Bryan Robertson, O.B.E Canadian Water Colours, Drawings and Prints 1966, catalogue, National Gallery, Ottawa, 1966. (pl. #18) Paul Fournier, Paintings & Graphics, 1962-1969, catalogue, University of Guelph, Guelph, Ontario, 1969, notes on the exhibition by Paul Fournier Young Artists from Around the World, catalogue, International Play Group and the Creche, 1969. New York Ontario Now: A Survey of Contemporary Art, catalogue, Art Gallery of Hamilton, 1976, (pl. #33), introduction by Glen Cumming Diversity-Canada East, Catalogue, Edmonton Art Callery, Norman MacKenzie Art Gallery The 22nd Annual Exhibition of Contemporary Canadian Art, catalogue, The Art Gallery of Hamilton, October 1971 Annual Exhibition of Contemporary Art 23rd, catalogue, The Art Gallery of Hamilton, October 1972 Toronto Dominion’s Art Collection, Toronto Dominion Bank, 115th Annual Report 1970. (p. 19) Toronto Painting: 1953-1965, Catalogue, The National Gallery of Canada, Ottawa, 1972, pl. 70 & 71, introduction by Barrie Hale The Mushroom Series, Paul Fournier, catalogue, University of Guelph, Guelph, Ontario, 1974, introduction by Judith Nasby 26

Abstractions: an exhibition of current abstract painting & sculpture in the Province of Ontario, catalogue, 1976 Olympic Games, Arts & Culture Programme, Montreal, Quebec, forward by Robert F. Swain, (pl.#12) Voices of Canada, an Introduction to Canadian Culture, 1977, Association for Canadian Studies in the United States, edited by Judith Webster Eighteen Contemporary Masters, catalogue, United States Embassy, Ottawa, Nov. 1977, Gaetana Enders The Fauve Heritage, catalogue, Edmonton Art Gallery, Sept. 9–Oct.30, 1977, introduction by Karen Wilkin The Queen’s Silver Jubilee Art Collection, catalogue, 1977, introduction

by Roald Nasgaard, Curator of Contemporary Art, Art Gallery of Ontario

A Jack Bush solo exhibition, A Selection of Paintings in Toronto, at the Mirvish Gallery, likely in 1975.

From left to right: Paul Fournier, K. M. Graham, Jack Bush, Paul Sloggett and Alex Cameron.

Reefside 2012 24” x 80” Acrylic on canvas / Acrylique sur toile

The Shell Canada Collection, catalogue, a selection of Canadian Art assembled by the employees of Shell Canada Ltd., November, 1977, introduction by Basil Shammas Certain Traditions: Recent British and Canadian Art, catalogue, Edmonton Art Gallery with the cooperation of the British Counil, as part of the cultural program of the Commonwealth Games held in Edmonton in 1978, Muriel Wilson & Karen Wilkin, 1978. (p. 74-75)

Citicorp Canada Art Collection, catalogue, April 1978 The University of Guelph Art Collection, catalogue, University of Guelph, Judith Nasby, 1980. (p. 113 & 114) Abstract Painting in Canada, chapter 10, Toronto: Exotic Modernism after 1970, Roald Nasgaard, Douglas & McIntyre Ltd and Art Gallery of Nova Scotia, 2007. (p. 253, 254)

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America, 1890-1940, and Gerhard Richter: Paintings. For the Museum of Fine Arts at FSU, he curated Pleasures of Sight and States of Being: Radical Abstract Painting Since 1990. His recent publications include Abstract Painting in Canada 2007, in collaboration with Douglas & McIntyre and Art Gallery of Nova Scotia.

Production HAN ART (6440622 CANADA INC.) Essays / Textes Karen Wilkin Roald Nasgaard

Translation / Traduction Marie Lenkiewicz

Biographies / Notes biographiques Karen Wilkin is a New York-based independent curator and critic specializing in 20th century modernism. She is a native New Yorker, educated at Barnard College and Columbia University. The author of monographs on Stuart Davis, David Smith, Anthony Caro, Kenneth Noland, Helen Frankenthaler, Giorgio Morandi, and Hans Hofmann, she has organized and contributed to exhibitions of the work of these artists, among others, internationally. A regular contributor the Wall Street Journal and the New Criterion, Wilkin is the contributing editor for art for the Hudson Review.

Roald Nasgaard (MA, University of British Columbia; PhD, Institute of Fine Arts, New York University), is Professor of Art History and past Chair of the Art Department at Florida State University.

From 1975 to 1978 he served as Curator of Contemporary Art and then, until 1993, as Chief Curator at the Art Gallery of Ontario in Toronto, where his major curatorial projects and the exhibition catalogues he has authored include Yves Gaucher: A Fifteen-Year Perspective; Structures for Behavior: New Sculptures by Robert Morris, David Rabinowitch, Richard Serra and George Trakas; Garry Neill Kennedy: Recent Work; The Mystic North: Symbolist Landscape Painting in Northern Europe and North

HAN

Organisers and Curators / Organisateurs et conservateurs Andrew Lui and/et Chloe Ng, Han Art Gallery Photography / Photographie Jeff Nolte Bosco Wang Graphic Design / Graphisme Chloe Ng, Han Art Gallery Editing / Révision Courtney Clinton, Han Art Gallery Legal Deposit / Dépôt légal Bibliothèque et Archives nationales du Québec, 2015 Library and Archives / Bibliothèque et Archives Canada, 2015 ISBN 978-2-9813373-9-9 All rights reserved / Tous droits réservés © Paul Fournier, Han Art Printed in Hong Kong / Imprimé à Hong Kong

ART

4209 rue Sainte-Catherine Ouest, Westmount, Québec, Canada H3Z 1P6 t: 514-876-9278 e: info@hanartgallery.com www.hanartgallery.com 28