Keith Harder: Children of Icarus

Keith Harder ¡ children of icarus vernon public art gallery

keith harder Children of Icarus

Vernon Public Art Gallery March 14 - May 11, 2019

Vernon Public Art Gallery 3228 - 31st Avenue, Vernon BC, V1T 2H3 www.vernonpublicartgallery.com 250.545.3173

Catalogue of an exhibition held at the Vernon Public Art Gallery 3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada March 14 - May 11, 2019 Production: Vernon Public Art Gallery Editor: Lubos Culen Layout and graphic design: Vernon Public Art Gallery Copy editor: Alexandra Hlynka Cover image, front - Keith Harder: Lift Here (detail), 2016, oil on canvas, 36 x 24 in Cover image, back - Keith Harder: Sunflier Fairing XII (detail), 2019, oil on panel, 9 x 12 in Photography: Keith Harder Printing: Get Colour Copies, Vernon, British Columbia, Canada ISBN 978-1-927407-49-3 Copyright Š 2019, Vernon Public Art Gallery All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the Vernon Public Art Gallery. Requests for permission to use these images should be addressed in writing to the Vernon Public Art Gallery, 3228 31st Avenue, Vernon BC, V1T 2H3, Canada.

Telephone: 250.545.3173 Facsimile: 250.545.9096 Website: www.vernonpublicartgallery.com The Vernon Public Art Gallery is a registered not-for-profit society. We gratefully acknowledge the financial support of the Greater Vernon Advisory Committee/RDNO, the Province of BC’s Gaming Policy and Enforcement Branch, British Columbia Arts Council, the Government of Canada, corporate donors, sponsors, general donations and memberships. Charitable Organization # 108113358RR.

This exhibition is sponsored in part by:

table of CONTENTS

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Executive Director’s Foreword · Dauna Kennedy

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Introduction · Lubos Culen

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Beneath the Surface · Agnieszka Matejko

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Artist Statement · Keith Harder

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Images of Works in the Exhibition

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Biography · Keith Harder

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Executive Director’s Foreword As an artist and educator from the University of Alberta, Keith Harder’s exhibition Children of Icarus is a look into two distinct bodies of work. Harder’s photorealistic work of cloud formations and aviation are stunning to look at, but this exhibition challenges the viewer to look deeper into the context in which the individual pieces were created.

It is a collaborative process bringing together all aspects of an exhibition and I would like to thank Agnieszka Matejko for her essay contribution to this publication. Matejko is an artist and educator for MacEwan University. She has a broad background in the arts and has written for various publications including Galleries West.

I would also like to thank the University of Alberta for contributing funds towards the printing of this exhibition catalogue, allowing Harder’s work to be disseminated to a much broader audience.

The Vernon Public Art Gallery also acknowledges the financial support of the Province of British Columbia, the Regional District of the North Okanagan, and the BC Arts Council, whose funding enables us to produce exhibitions such as this for the North Okanagan region.

Our hope is that this publication will provide deeper insights into the work presented through the exhibition, Children of Icarus.

Warmest Regards, Dauna Kennedy Executive Director Vernon Public Art Gallery

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introduction - Keith Harder: children of icarus Keith Harder’s exhibition titled Children of Icarus at the Vernon Public Art Gallery brings together two distinct bodies of paintings, both of which directly and indirectly reference aviation and the human condition. The most recent large-scale paintings in the series titled ILL Winds portray the meteorological phenomena of cloud formations while the small-scale, intimate paintings from the series titled Anamnesis highlight the details of decrepit fuselages of vintage airplanes. Harder’s work is executed as a highly realistic rendering, yet his work is not an illustration of an object, the natural phenomena, or a portrait of a person. While interested in the natural world, Harder has produced work referencing landscape, still life and portraiture, but the tension in his work is created by what cannot be depicted; it is the context within which each work was created.

The suite of small paintings was produced between 2013 and 2019 under the title of Anamnesis and the recent large scale paintings under title ILL Winds. Despite the fact that Harder formalized the direction for the series of paintings under the umbrella title of Children of Icarus in 2004, various work from 1980 to 2004 can also be considered part of that trajectory. Throughout Harder’s creation of this series, the viewer is presented with direct and indirect references to aviation. As pointed out previously, despite the realistic modeling in some of his earlier paintings in the series, there is no sense of time or of a particular location, or place, nor reference to the stable external world. In the painting titled A Futility of Heroes (2017), Harder invented the pictorial space based on a realistic rendering of a plane fuselage juxtaposed over a structured abstract space created by a series of geometric lines. The realistic rendering of the upper part of the fuselage is contrasted by the drips of paint which, together with the geometric lines in the background, reaffirm the flatness of the picture plane. One can only deduce that Harder created an image which is perhaps a commentary on the nature of highly realistic rendering while affirming that the image is created on a flat surface. Despite the disarray of the plane’s skeletal parts, the painting suggests a narrative, which is unknown, but interpretable by a viewer. The painting does not give up the narrative easily; instead, the layers of meaning might reveal themselves to the viewer willing to contemplate the context of the imagery as referenced by the title itself. Here again, the viewer is offered a depiction of what is implied rather than an illustration of a closed narrative.

The series of works created under the umbrella title Children of Icarus takes a metaphoric expression which references the myth of Icarus. It is a narrative of human ingenuity to allow a person to fly, but also highlighting the human attitude to control the forces of nature that often results in defeat and demise. The Children of Icarus in its totality is an ongoing project which Harder has been realizing for more than three decades and includes numerous paintings, drawings, photographs, sculpture and a large land art installation. The common elements underlying the various bodies of his artwork is the 6

meditation on mortality, atrophy and decay. The portrayal of the decrepit remnants of airplanes is inevitably connected to those who piloted them, now nameless individuals who were perhaps involved with flying and later the dismantling of the ageing aviation relics. The portrayal of the now disabled machines and the human element they reference brings on the feeling of nostalgia that informs the emotional and psychological impact.

Harder’s subject matter references flight and aviation within the context of the human desire to travel and discover new frontiers navigating the air. Despite the fact that his paintings are created in a planned and skillful execution of a realist artist, the works are permeated with layers of meaning and poetic undercurrents referencing the mythical story of Icarus, but also Harder’s own experiences with flight and the loss of human life. These references are directly contained in the series of paintings titled Sunflier Fairing (I – XII), where the ‘sunflier’ in the mythical story is the one flying too close to the sun which, in turn, caused his demise. The second part of the titles, ‘fairing’, references airplanes’ technical features that have the primary function of producing smooth outlines of the fuselage. In Harder’s renderings these ‘fairings’ are either missing or in various degrees of damage. All the viewer can apprehend is the fact that a portrayal of these airplane parts contains a history of its original purpose, then abandonment and dysfunction. Here again, Harder seduces the viewer with photograph-like painted images, but decoding the layers of narrative requires a deep engagement with the artifact.

While Harder’s previous paintings often featured images of sky and clouds with an occasional airplane navigating the air, the paintings of his recent body of work titled ILL Winds are very different. They feature images of gathering storm clouds bringing ominous warnings about the approaching malevolent formations in the sky. The horizon line in all the paintings from this series is positioned very low, just barely above the bottom edge of the canvas. Visually, the clouds dominate the picture plane in their relative size and explosive character with an ominous internal glow. The fact that these paintings are titled according to the four cardinal directions, suggests to viewers the deduction that there is a potential danger in all directions.

Keith Harder’s exhibition Children of Icarus at the Vernon Public Art Gallery is another iteration of this large body of work that he has produced over the past decades. Despite the fact that his works of art reference his life-long interest of aviation in general, there is an additional component in his work which addresses issues of the human condition. Many of the ideas he is presenting to the viewers are based on his personal experiences and discoveries, yet the artwork he creates offers contemplative space for the viewers to engage with his paintings.

Lubos Culen Curator Vernon Public Art Gallery 7

Beneath the Surface

by Agnieszka Matejko “Whatever ends up in a painting gets changed by it and given a significance that it does not have in other forms of representation. A thing or scene that might not get a second glance in our everyday life becomes an object of contemplation and mystery.”

Keith Harder Mindfulness is a common buzzword, but its roots are often misunderstood. As the late Ajahn Chah, a Buddhist monk from Thailand, humorously explained, it’s not enough to calm our minds.

Even chickens can do that. The key is to interpret and learn from what we observe.

While Eastern spiritual practices were far from Keith Harder’s mind when he started the paintings in Children of Icarus, they might have made Ajahn Chah smile. Harder observes the world with the patience and precision of a mindfulness guru, but his art reaches beyond detailed observation: it creates wormholes into perception by delving beneath superficial appearances and reframing prosaic scenes, whether abandoned airplanes or the prairie sky.

Long fascinated with flight, Harder began the work on Children of Icarus in the 1980s, around the time he earned his pilot’s licence and saw the spellbinding expanse of the prairies around his hometown of Calgary from a bird’s vantage point. The meticulous paintings and drawings that followed over subsequent decades include various flight-centred series: there are sunlit prairie skies, discarded wreckages of planes, ghostly airports depleted of human presence, and evocative still-life pieces that feature single feathers.

The first of Harder’s two recent series featured in this exhibition, Sunflier Fairing, was inspired by a visit to the Bomber Command Museum of Canada in Nanton, south of Calgary. It was there that the poignant history of the sunflower hued twin-engine Avro Anson caught his eye. Few Canadians now remember the British-built aircraft used to train Commonwealth pilots during the Second World War. But William Lyon Mackenzie King, then Canada’s prime minister, believed they were vital to an Allied victory. In all, some 131,533 pilots trained in Canada, and throughout the war years, the yellow gleam of Avro Ansons dotted the prairie sky. They are part of the bedrock of the country’s wartime history.

Over the years, some planes found their way to museums, but most continue to disintegrate in farmers’ fields where generations of children have used them as playthings. It’s these planes– and their stories of violence, heroism and, ultimately, neglect – that captured Harder’s imagination.

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The longer you stand in front of the small oil paintings in Sunflier Fairing, the more you see.

Remnants of the Avro’s yellow fuselage glow alongside bits of blue sky reflected in chunks of shiny aluminum. It’s easy to become captivated by the radiant colours and textures, nearly overlooking the twisted metal components, grim reminders of human vulnerability and courage. Trompe l’oeil bullet holes pierce some paintings, hinting at ominous voids within. They offer a compelling contradiction: yellow Avro Ansons were used only for training and bullet holes were made not by enemy fire but by farm children who used them as targets. The Avro’s illustrious moment in the annals of Canadian history has turned full circle.

Prodigious black frames enclose these paintings. Designed by a master craftsman, they refer to 17th century Dutch vanitas art. But here the human skulls, traditionally set against fruit, flowers and various household objects, are replaced by Harder’s subtler and more multifaceted allusions. His close-up renditions of dilapidated, largely forgotten planes that once served as bulwarks against Fascism are poignant reminders of both the courage to stand against tyranny and the inexorable march of time that eventually turns even the hardest steel to rust.

In his most recent series, ILL Winds, also included in this exhibition, the scene changes drastically.

It’s like turning a telescope around: instead of a detailed microcosm, we now see expansive night skies. To achieve the uncanny illusion of space, Harder turned away from oil paints and, for the first time in over thirty years, experimented with acrylics. Starting with a grisaille base coat, he applied pure pigments of RGB colours layering alizarin crimson over phthalo green and phthalo blue, allowing each pigment to dry between coats to retain full luminosity. Specks of pure colour gleam amidst the stormy skies, brightening darkness so deep that no black pigment from a tube could ever achieve.

Beneath the immense sky a thin band of prairie hovers low along the bottom edge of the canvas.

We don’t so much walk toward these paintings as fly into them. This high vantage point evokes the view Icarus might have seen as he flew toward the sun. Or, perhaps, it recalls the flight path of a young pilot venturing into the gathering clouds of a storm. This lone aviator is pitted against sinister elements.

The show’s title, Children of Icarus, points to possible interpretations of the work. Who are the children of Icarus? After all, this character from Greek mythology was not a father. Perhaps the title refers to people of courage who, like Icarus, dare to overcome conventional thinking and face their 9

own fears. Or maybe it’s the young men who left the safety of home to fight Fascism a lifetime ago.

While Harder started this body of work long before the recent election of populist leaders in Brazil, Hungary, the United States and elsewhere, these political developments lend his work renewed relevance, as well as a prophetic air. The recurring forces of human history are no less powerful than the entropy his paintings depict. Challenging them requires not only heroism, but also the ability to dream.

Of course, the meaning behind these paintings is not limited to political metaphors. Harder’s art evokes, it does not prescribe. Deeply personal interpretations are equally valid, whether recurring themes of courage, loss, the passage of time or the gradual erasure of memory. All are also archetypal motifs long explored in mythology and legend. But here, Harder reframes a classical myth within a contemporary, specifically Canadian prairie context. Like Icarus, who plunged to his death when his wax-bound wings melted in the sun, the planes that once glinted in the Alberta sky are now fallen and disintegrating. They, much more viscerally than remote Dutch still-life paintings, are our memento mori.

Harder’s art stands in opposition to current trends, where speed and multi-tasking reign supreme.

Like the old masters, there is nothing cursory in his glance. He observes every hue within a cloud and every crevice of a twisted fuselage. The result is much more than a slavish adherence to reality: his extraordinary ability to pay attention becomes a form of meditation. It’s not the trance-inducing state some mindfulness teachers advocate, but an alert and observant attention. Harder helps us see the familiar, and often cursorily observed world in a renewed way. It’s like the first moment we open our eyes after a deep sleep.

Agnieszka Matejko is a community based artist whose practice focuses on engaging non-arts based groups in public art projects. Her recent collaborative works include Word On the Street, a Canada Council New Chapter funded installation where poetry by residents and marginalized populations was sandblasted into the sidewalks of an inner city neighbourhood; We Walk Together, an installation of poems on the High Level Bridge; Kickflip and Graffiti Poetry, among other murals that engage children and youth. Agnieszka has also curated numerous MacEwan University and University of Alberta student public art projects where temporary installations were placed in hospitals, parks and businesses. Agnieszka is a freelance visual-arts writer for various magazines including Galleries West.

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Lift Here, 2016, oil on canvas, 36 x 24 in

From the Studio of Keith Harder Keith Harder January 2019 Camrose, Alberta In my studio practice, I investigate the meaning of the visual experience. I mean the kind of epiphany that opens onto a sense of being or mystery in the presence of certain kinds of looking and seeing. Such visual experiences are not common occurrences and are less frequent to those of us for whom the necessary mindfulness is an elusive thing, distracted as we are by our lifestyle.

I have made it my business to wonder at the what, the why, and the how of such things. I do it by slowing down the business of looking, both for myself and, I hope, for an audience who is willing to engage with such things. In the course of that process I try to create, in my work, an occasion for good looking.

“Paying Attention” could be my tag line. The cost of a certain kind of understanding must be paid with attentiveness, a high price in an ADD culture. However, this kind of understanding is my motivation for careful and highly resolved description.

The conflicted nature of the open sky and the struggle against gravity, with its broader implications of entropy and mortality, has been an undercurrent in my work for the larger part of my career.

These themes are referenced through motifs and imagery of weather, planes, feathers, and navigation. This particular investigation is part of an overall project titled The Children of Icarus. It is a collection of paintings, drawings, digital prints, sculpture, and a land art piece that reconsiders Icarus’s archetypal encounter with gravity. This body of work pursues an ongoing inquiry that experiments with narrative, poetics, and form.

The interconnected series, ILL Winds and Anamnesis, are both subsets of the Children of Icarus project. These two series specifically use imagery of sky and flight in order to address issues of trauma and resilience. The paintings offer a meditation on experiences of distress, threat and loss – both gradual and sudden. Whether referencing natural elements (thunderheads) or illuminating the beauty of mechanical detritus (derelict aircraft), the subjects are used to address issues of anxiety and peril, but also of perseverance/persistence, intimacy, light, and individual histories.

At the core of this practice is an attempt to address what painting can do to move beyond simply picturing.

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Anamnesis (Sunflier Fairings) This series of paintings uses the subject matter of derelict aircraft from the Second World War to create an expression of fading memory and the effort to regain it, by referencing aspects of erosion and violence, as well as of the splendor of light and colour. These works use close cropped compositions that employ formalistic non-objective painting tropes established in the modernist era and combine them with highly resolved details of contemporary descriptive painting. The result is an equivocal experience as the viewer negotiates between the aesthetics of composition and the narrative implications of scratches, dents, cracks, and bullet holes endured by the artifacts.

Scraps of unidentified remains cut across our vision Maps to a lost country drawn in congealed suffering Their wisdom silenced by reckless forgetting

Gaping at our unfolding grief, scrabbling to comprehend its mystery.

ILL Winds “It’s an ill wind that blows nobody any good” Old English proverb These paintings take on the subject matter of dark, towering cumulonimbus clouds to engage the idea of peril and unintended consequences. Darkness and the gathering of storm clouds are rich with poetic implications. These might include the consideration of extreme weather phenomena linked to climate change, but might also allude to instability and insecurity in other arenas of contemporary life; personal troubles, political instability, civil unrest, terror, war, economic threats, criminal activity, and technological incursions on privacy.

A heedless grasp triggers whiplash recoil Apparitions rising, looming karmic grandeur Horizons lost to the darkening Ambushed in disbelief Prospects scoured away.

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A Futility of Heroes, 2017, acrylic on canvas, 24 x 36 in

children of icarus works in the exhibition

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ILL Winds: Forerunner, 2014, acrylic on canvas, 36 x 36 in

ILL Winds: East, 2017, acrylic on canvas, 108 x 78 in

ILL Winds: South, 2017, acrylic on canvas, 78 x 129.5 in

ILL Winds: West, 2016, acrylic on canvas, 92 x 116 in

ILL Winds: North, 2015, acrylic on canvas, 69 x 93 in

Sunflier Fairing I, 2012, oil on panel, 6 x 8 in

Sunflier Fairing II, 2013, oil on panel, 8 x 6 in

Sunflier Fairing III, 2013, oil on panel, 6 x 8 in

Sunflier Fairing IV, 2013, oil on panel, 6 x 8 in

Sunflier Fairing V, 2014, oil on panel, 8 x 6 in

Sunflier Fairing VI, 2014, oil on panel, 8 x 6 in

Sunflier Fairing VII, 2015, oil on panel, 8 x 10 in

Sunflier Fairing VIII, 2015, oil on panel, 10 x 8 in

Sunflier Fairing IX, 2016, oil on panel, 10 x 8 in

Sunflier Fairing X, 2016, oil on panel, 8 x 10 in

Sunflier Fairing XI, 2019, oil on panel, 9 x 12 in

Sunflier Fairing XII, 2019, oil on panel, 9 x 12 in

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Keith Harder

Selected Biography Born Saskatoon, Saskatchewan, 1955 Education 1989 1986 1980 1979

Master of Visual Arts, painting, University of Alberta, Edmonton, Alberta BFA, painting major, University of Calgary, Calgary, Alberta B Ed, secondary art education, University of Calgary, Calgary, Alberta Studies in painting and drawing, Alberta College of Art, Calgary, Alberta

Teaching Experience 2012-present Professor, Studio Art, Augustana Faculty, University of Alberta, Camrose,

Alberta 2004-2012 Professor, Studio Art, Augustana Faculty, University of Alberta, Camrose, Alberta and Chair, Department of Fine Arts 2004-2007 Associate Professor, Studio Art, Augustana Faculty, University of Alberta, Camrose, Alberta and Chair, Department of Fine Arts 1998-2004 Associate Professor, Augustana University College, Camrose, Alberta and Chair Fine Arts Division 1992-1998 Assistant Professor, Augustana University College, Camrose, Alberta 1989-1992 Sessional Instructor, University of Calgary, Calgary, Alberta 1990 Sessional Instructor, University of Alberta, Edmonton, Alberta 1987-1989 Graduate Teaching Assistant, University of Alberta, Edmonton, Alberta Selected Solo Exhibitions 2014 Observation and Invention, Penticton Art Gallery, Penticton, British Columbia 2014 Under Cultivation, Stony Plain Multicultural Centre Gallery, Stony Plain, Alberta 2013 Dereliction of Memory, VAAA Gallery, Edmonton, Alberta, 2013 Children of Icarus, Okotoks Art Gallery, Okotoks, Alberta 2012 Under Cultivation, Art Gallery of St. Albert, St Albert, Alberta 2010 Gravitas, permanent landscape installation for the Bomber Command Museum, Cayley, Alberta 2005 Keith Harder: Under the Weather: the Rural Scene, Cultural Centre Gallery, Medicine Hat, Alberta 51

Selected Solo Exhibitions continued 2004 Keith Harder: Under the Weather, Douglas Udell Gallery, Edmonton, Alberta 1999 Keith Harder: Lemons, Douglas Udell Gallery, Edmonton, Alberta Keith Harder: Off on a Tangent, Douglas Udell Gallery, Edmonton, Alberta 1996 Keith Harder: Signs of Life, Douglas Udell Gallery, Edmonton, Alberta 1993 Recent Work by Keith Harder, Douglas Udell Gallery, Edmonton, Alberta 1991 Recent Work by Keith Harder, Canadian Art Galleries, Calgary, Alberta 1989 Keith Harder, Woltjen/Udell Gallery, Edmonton, Alberta 1989 Keith Harder, Fine Arts Building Gallery, University of Alberta, Edmonton, Alberta Selected Group Exhibitions 2018 Biomythography, Fine Arts Building Gallery, University of Alberta, Edmonton, Alberta 2018 Gravitas, documentary film, Northwestfest, Garneau Theatre, Edmonton, Alberta 2017 Creating Ill Winds West, Alberta Short Documentaries, Nordlys Film Festival,

Camrose, Alberta 2016 Generations: 50 Years of Art at the University of Calgary and Beyond, Nickle Art Gallery, University of Calgary, Calgary, Alberta 2015-2016 Brain Storms, University of Alberta Museums at Enterprise Square, Edmonton,

Alberta 2015 Hooked: Fish, Water and Angling in Art, Glenbow Museum, Calgary, Alberta 2011 Drawn to Drawing: Vancouver Drawing Festival, Douglas Udell Gallery, Vancouver, British Columbia 2006 SEE, Mezzanine Gallery, University of Calgary, Calgary, Alberta 40 Years of Fine Art, Mezzanine Gallery, University of Calgary, Calgary, Alberta 2005 REAL, Douglas Udell Gallery, Vancouver, British Columbia Two Point Perspective, Dawson Creek Art Gallery, Dawson Creek, Yukon 2004 A Little Landscape, Profiles Public Art Gallery, St. Albert, Alberta 2002 Pulse: Northern Alberta Drawing Exhibition, Profiles Public Art Gallery, St. Albert; Alberta, travelled to: Keyano Art Gallery, Fort McMurray, Alberta; Bowman Arts Centre, Lethbridge, Alberta; Cultural Centre Gallery, Medicine Hat, Alberta; Chuck McLean Art Centre, Camrose, Alberta River Journey, AFA exhibition, Medicine Hat Museum and Art Gallery, Medicine

Hat, Alberta, travelled to: East Coulee School Museum, East Coulee, Alberta Artwalk, Douglas Udell Gallery, Edmonton, Alberta 2001 Looking Out/Looking In, Mezzanine Gallery, University of Calgary, Calgary, Alberta

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2000 2000 1998

1997

1995 1994 1993 1992 1990 1989 1985 1984-1985

Homage, Mezzanine Gallery, University of Calgary, Calgary, Alberta Mechanics of Vision: Drawing in Alberta, Extension Centre Gallery, University of Alberta, Edmonton, Alberta AFA Collects, Medicine Hat Museum and Art Gallery, Medicine Hat, Alberta, travelled to small centres in southern Alberta In the Wilds: Canoeing in Canadian Art, McMichael Museum of Canadian Art,

Kleinburg, Ontario Sight Specific, Triangle Gallery, Calgary, Alberta, travelled to: Whyte Museum of the Canadian Rockies, Banff , Alberta; Department of Art and Design, University of Alberta, Edmonton, Alberta; Art Gallery of the South Okanagan, Penticton, British Columbia; Vernon Public Art Gallery, Vernon, BC; Prairie Art Gallery, Grande Prairie, Alberta Homecoming, Nickle Arts Museum, University of Calgary, Calgary, Alberta Contemporary Drawing, Douglas Udell Gallery, Edmonton, Alberta Group exhibition, Douglas Udell Gallery, Edmonton, Alberta; and Vancouver, British Columbia Hockey 100, New Gallery, Calgary, Alberta Faculty Show, Nickle Arts Museum, University of Calgary, Calgary, Alberta Faculty Show, Nickle Arts Museum, University of Calgary, Calgary, Alberta Artist’s Perspective, Glenbow Museum, Calgary, Alberta Young Calgary Realists, Canadian Art Galleries, Calgary, Alberta Six Calgary Realists, Beaver House Gallery, Edmonton, Alberta, travelled to PetroCanada Gallery, Calgary, Alberta; Prairie Art Gallery, Grande Prairie, Alberta

Public Collections Alberta Art Foundation, Edmonton, Alberta University of Alberta, Edmonton, Alberta University of Alberta. Augustana Campus, Camrose, Alberta University of Alberta Hospital, Edmonton, Alberta Corporate Collections Encana, Calgary, Alberta Shaw Cable Ltd., Calgary, Alberta Shaw Pipe Inc., Toronto Telus, Burnaby, British Columbia Trans Canada Pipeline, Calgary, Alberta Williams Engineering, Edmonton, Alberta 53

Selected Bibliography Abercrombie, Nora. “Keith Harder: A big investment,” Arts Bridge (Edmonton, Alberta), Vol 2, No. 3, issue 5, November, 1993, p. 5.

Beauchamp, Elizabeth. “Beauty emerges from grunge,” Edmonton Journal, November 4, 1989, p. B3.

Betkowski, Bev. “Aircraft piece honours Second World War flyers,” University of Alberta Folio, December 11, 2009, p. 9.

Borowiecki, Anna. “Fall for Art at the First Art Walk of Autumn,” The St. Albert Gazette, September 1, 2004.

Bouchard, Gilbert. “Exhibit draws on Northern Alberta talent,” Edmonton Journal, December 27, 2002. _____. “Udell’s Christmas: Art that is New and Different,” Edmonton Journal, Dec.24, 2004.

Chandler, Graham. “Holding Pattern,” Air & Space Smithsonian, November, 2010, Vol. 25,

No. 5, pp. 1012.

CTV. “Art for the Airborne” [Television Broadcast], Alberta Primetime, CTV, September 17, 2013 Green, Kim. “Air Craft,” New Trail. Spring/Summer, 2010, Vol. 66, No. 1, p. 8.

Gustafson, Paula. “Glenbow offers colourful look at Alberta Realism,” Calgary Herald, April 7, 1989, p. F1.

Hall, John. “A conversation about Realism with John Hall and Keith Harder,” Keith Harder: Observation and Invention. Penticton Art Gallery, 2014, pp 13-50.

Harder, Keith. “When the ‘Here and Now’ is Nowhere,” Chapter 23, The Hermeneutics of Place and Space. ed. Bruce Janz, Springer International Publishing, 2017, Switzerland. pp 333-346.

Harrison, Brock. “Capturing Alberta’s Essence,” Saint City News Weekender (St Alberta, Alberta), September 10, 2004.

Janz, Bruce. “Virtual Experience in Keith Harder’s Children of Icarus Paintings,” Keith Harder: Observation and Invention. Penticton Art Gallery, 2014, pp 53-62.

Laviolette, MaryBeth. “Cool and Precise: Calgary Realist Painters,” City Scope Magazine, September/October, 1985, pp. 9-11. _____. (ed.) Sight Specific. Calgary: Power House Architecture, 1996, pp. 1112. _____. An Alberta Art Chronicle: Adventures in Recent and Contemporary Art. Canmore: Altitude Publishing, 2005, pp. 236; 433.

Mandell, Charles. “Art that is Real,” Edmonton Journal, April 13, 1998, p. C2.

Mauro, Stephen, “Alberta’s Anson Circle,” Aviation History, May, 2010, Vol. 20, No. 5, p. 11.

Read, Sheena. “Landscape art pays tribute to Ansons,” High River Times, December 15, 2009, p. 25.

Selected Bibliography continued Rudolfsen, Bev. “Top drawer talent,” The St. Albert Gazette, October 8, 2002.

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Sawyer, Jill. “Alberta Farmer’s Field Transformed with Historic Installation,” Galleries West, Spring, 2010, Vol. 9, No. 1, p. 13.

Stolte, Elise. “Memorial honours warriors of the sky,” Edmonton Journal, Nov 30, 2009, p. A1.

Tousley, Nancy. “Exhibition reflects diversity of realism,” Calgary Herald, January 4, 1985, p. F8. _____. “Painters render everyday realities,” Calgary Herald, September 28, 1990, p. C1.

White, Stephanie. “Keith Harder. Gravitas,” On Site Review, online exhibition of memorial art and architecture, Dec 16, 2009: http://www.onsitereview.ca/warmemorialexhib Wylie, Liz. In the Wilds: Canoeing and Canadian Art. Kleinburg: McMichael Canadian Art Collection, 1998, pp. 46-47. _____. “Burning Light: the Art of Keith Harder” Keith Harder: Observation and Invention.

Penticton Art Gallery, 2014, pp 1-11

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