Luanne Martineau (born 1970) is a contemporary, multimedia Canadian artist best known for her hand-spun and felted wool sculptures. Her work engages with social satire as well as feminist textile practice.
Martineau was born in Saskatoon, Saskatchewan. She earned a fine art diploma from the Alberta College of Art & Design in 1993, and a Masters of Fine Art from the University of British Columbia in 1995. She was previously an associate curator at the Art Gallery of Calgary, and later a professor of theory and curatorial studies at the University of Victoria. [1] She is now based in Montreal, where she is an associate professor of painting and drawing at Concordia University. [2]
Martineau has been exhibiting across Canada and internationally since the mid-1990s. Her work blurs the boundaries between craft and fine art, combining labour-intensive female handwork with questions about the politics of the body, style and ideology. Her "drulptures" are three-dimensional felt assemblages that are not literal interpretations of the human form, but which have bodily shapes and grotesque fleshy resemblances. [3] [4] In 2010–2012, the Musée d'art contemporain de Montréal organized a touring exhibition of Martineau's work. [5] This exhibition was accompanied by a catalogue that included essays by Lesley Johnstone, Dan Adler, and Shirley Madill. [6]
In 2007, Martineau with the winner of the Jack and Doris Shadbolt Foundation's VIVA Award for the Visual Arts. [7] In 2005 she was long-listed for the Sobey Art Award, and in 2009 she was shortlisted. [8]
Martineau's work is in the collections of the Art Gallery of Nova Scotia, Halifax, [9] the Art Gallery of Greater Victoria, [10] the National Gallery of Canada, Ottawa, [11] the Musée d'art contemporain de Montréal, the Vancouver Art Gallery, and the Alberta Foundation for the Arts, [12] amongst others.
Lynne Cohen was an American-Canadian photographer.
Germaine Koh is a Malaysian-born and Canadian conceptual artist based in Vancouver. Her works incorporate the artistic styles of neo-conceptual art, minimalism, and environmental art, and is concerned with the significance of everyday actions, familiar objects and common places.
The Musée d'art contemporain de Montréal (MACM) is a contemporary art museum in Montreal, Quebec, Canada. It is located on the Place des festivals in the Quartier des spectacles and is part of the Place des Arts complex.
David Sorensen was a Canadian artist.
Fernand Toupin was a Québécois abstract painter best known as a first-generation member of the avant-garde movement known as Les Plasticiens. Like other members of the group, his shaped paintings drew upon the tradition of geometric abstraction, and he cited Mondrian as a forerunner. In 1959, Toupin began working with a more lyrical, though abstract, way of painting. The last decade of his career saw his return to geometric abstraction. Like Jean-Paul Mousseau, Toupin created works which lay outside the standard boundaries of art such as his stage sets for ballets.
Richard Taryn Leong is a Canadian artist working primarily in painting and drawing. He is represented by Parisian Laundry in Montreal.
Jeanie Riddle is a Montreal and Mexico City based artist. Her practice is grounded in a painting/object/installation hybrid. She was the founding director of Parisian Laundry (2005–17). Her work has been shown in NYC, Mexico City, Los Angeles, Berlin, Montreal, San Francisco, Toronto and Calgary.
Lorna Brown is a Canadian artist, curator and writer. Her work focuses on public space, social phenomena such as boredom, and institutional structures and systems.
Valérie Blass is a Canadian artist working primarily in sculpture. She lives and works in her hometown of Montreal, Quebec, and is represented by Catriona Jeffries, in Vancouver. She received both her Bachelor of Fine Arts and Master of Fine Arts, specializing in visual and media arts, from the Université du Québec à Montréal. She employs a variety of sculptural techniques, including casting, carving, moulding, and bricolage to create strange and playful arrangements of both found and constructed objects.
Philip Surrey LL. D. was a Canadian artist known for his figurative scenes of Montreal. A founding member of the Contemporary Arts Society, and Montreal Men's Press Club, Surrey was part of Montreal's cultural elite during the late 1930s and 1940s. In recognition of his artistic accomplishment he was elected to the Royal Canadian Academy of Arts, awarded a Canadian Centennial Medal in 1967 and was appointed to the Order of Canada in 1982.
Renée Van Halm is a Canadian contemporary visual artist born in Haarlemmermeer, the Netherlands (1949) and immigrated to Canada in 1953.
Hajra Waheed is a Montréal-based artist. Her multimedia practice includes works on paper, collage, sound, video, sculpture and installation. Waheed uses news accounts, extensive research and personal histories to critically examine multiple issues including: covert power, mass surveillance, cultural distortion and the traumas of displacement caused by colonialism and mass migration.
Krista Belle Stewart is a First Nations visual artist from Canada. Stewart works in a variety of formats, using archival materials, photographs, and collage.
Angela Grauerholz is a German-born Canadian photographer, graphic designer and educator living in Montreal.
Barbara Steinman is a Canadian artist known for her work in video and installation art.
Francine Savard is a Canadian artist whose paintings and installations are grounded in the Plasticien tradition. Her practice explores relationships between language and visual art. Besides painting, Savard has a career as a graphic designer.
Karen Tam is a Canadian artist and curator who focuses on the constructions and imaginations of cultures and communities through installations in which she recreates Chinese restaurants, karaoke lounges, opium dens, curio shops and other sites of cultural encounters. She is based in Montreal, Quebec.
Nicolas Grenier is a Canadian artist and painter. His paintings, sound recordings, and installations focus heavily on how certain principles in society converge and interact. His goal is to reveal how the individual interacts with the collective body and how the architecture we find ourselves in defines our subconscious and our interactions with each other. The foundation of his work is painting but in recent years he has expanded his practice to encompass a variety of mediums and think tank initiatives. His interest lies in the distorted connections of political, economic, cultural and social principles and how moneyless economies, radical inclusivity, giving up individualism, and other ideas could evoke a paradigm shift in values and beliefs.
Edmund Alleyn had an art career that underwent many stylistic changes. He explored various styles of painting including abstraction, narrative figuration, technology and pop art, as well as different media. Critics feel that his inability to be categorized marks him as contemporary. Even more important, they say that he helped remove excessive compartmentalization from art practice.
John Richard Fox was a painter, sculptor, collagist, watercolourist and draftsman, as well as an educator who lived in Montreal most of his life. His work beginning in the late 1950s moved easily from representation to abstraction in 1972 and in 1986, back again to representation. He regarded the two different aspects to his work as having the same concerns. He was often praised as a colorist and for his rich surfaces and subtlety of effects, even in his abstract work. As has been recognized increasingly since the 1990s, Fox’s paintings and particularly his abstractions are a valuable part of Canadian modernism.