Customer Reviews (1)

Another side of a great artist...
As a long time "fan" of the art of Canada's Emily Carr, I was anxious to read more of her writings.Through these letters to "friends", we, the reader, are given another side of Emily Carr. So much has been written about her irascible personality as she grew older;her intolerance, her feistiness.But in these letters I heard echoes ofloneliness, insecurity and the fear of aging and growing sick that we allshare about our own futures.I am not sure she would have liked havingthese letters published but I think reading these letters can give aninsight that genius is not always confident or happy...that each of herpaintings was like a child that she wanted everyone to love and understand.We read about her daily struggle to find a place to live, to relate topeople, to just survive.This is what we read in "Dear Nan". The book saddened me that it was obvious that Emily Carr died alone with noone near her for comfort.It made me question the quality of her friends,and if they were truly friends.I think every reader of this book willexamine their own lives, be they artists or just human beings because thisbook is really about friendship. ... Read more

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As a child she was "contrary,"as a young woman she defied convention to choose art over marriage, and as a middle-aged woman she was considered a full-blown eccentric. Listening to her own inner voice, Emily Carr created an art unique to British Columbia.

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Emily Carr is published by Fitzhenry and Whiteside.

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Emily Carr (1871-1945), a Canadian artist, was one of the most renowned women for her time for her paintings of indigenous Canadian subjects and the spectacular Pacific coastal areas of British Columbia. Less is known, however, of her career as a writer, on which she embarked in later life when ill-health made writing difficult. The three books she published in her lifetime, and which are examined in this volume, were enormously popular with both critics and public, and she received the Governor-General's Award for General Literature in 1942. This book fills a gap in the scholarship around this greatly admired artist. ... Read more

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Though fame came late to Emily Carr, today she is hailed as a major and influential figure in the history of Canadian art and as a writer of unique and extraordinary talent. In this book, Courtney Milne has taken the best of Carr’s writing about the land she loved and has matched it to a stunning selection of his own photographs of the West Coast.

In a vigorous and colourful post-impressionist style, Emily Carr painted the vanishing native villages and totem poles of her beloved coastal British Columbia, and later in her career produced beautifully lyrical paintings expressive of the spirit and rhythms of Western forests, beaches, and skies. She also poured her talent into books about her life and art, her love of animals and nature, her frustrations and disappointments, her many sources of joy.

An annual visitor to the West Coast, Courtney Milne has been making photographs with the words of Emily Carr in mind for close to 20 years. To put this book together he has collected his favourite quotes from Carr and combed through many thousands of his photographs to find the perfect image to match a chosen piece of prose. The result is a spellbinding duet of text and pictures from two gifted and sympathetic artists. ... Read more

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Photgraphic Excellence
This is an excellent book to use as a reference for composition and the power of the camera.This is also a great book for the coffee table for your guest to thumb through. ... Read more

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In this much-loved collection of 51 short stories, writer and painter Emily Carr writes of the people and animals in her life. In her inimitable style — direct, vital, vivid — she tells of her experiences with Native people, her adventures with birds, her love of nature, and of her mischievous pet monkey Woo. The Heart of a Peacock affirms Carr's standing as a writer with the sharp yet tender eye of an artist, with a deep feeling for the tragedies of life, and with a rich sense of the comic. ... Read more

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Unsettling Encounters radically re-examines Emily Carr’s achievement in representing Native life on the Northwest Coast, and her goals and achievements in representing Native villages and totem poles in her paintings and writings. Reconstructing a neglected body of Carr’s works that was central in shaping her vision and career makes possible a new assessment of her significance as a leading figure in the history of early twentieth-century Modernism.

Unsettling Encounters includes a vivid recreation of the rapidly changing historical and social circumstances in which Carr painted and wrote. She lived and worked in British Columbia at a time when the growing settler population was rapidly taking over and developing the land and its resources. Gerta Moray argues that Carr’s work takes on its full significance only when it is seen as a conscious intervention in settler-Native relations. She examines the work in relation to the images of Native peoples that were then being constructed by missionaries and anthropologists and exploited by the promoters of world’s fairs and museums.

Carr’s famous, highly expressive later paintings were based to a great extent on the results of her early experience. At the same time they were a response to new currents in North American culture in the 1920s and 1930s. Moray explores Carr’s participation in the Group of Seven’s agenda to build a national culture and her sense of her own position as a woman artist in this masculine arena.

Unsettling Encounters is the definitive study of Carr’s "Indian" images, locating them both within the local context of Canadian history and the wider international currents of visual culture. ... Read more

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Canadian artist of Native American culture and her influence
The varied content on this 20th-century Canadian painter "moves through a series of concentric circles, putting into place the multiple dimensions of the period...." Carr's life and career do not lend themselves to a straightforward, chronological account. While her interests in the regional Native American culture never changed and her artistic subjects and style are distinguishable, how she was regarded by others, especially Canadians, changed. At one time, Carr was seen as a "little old woman on the edge of nowhere" with an inscrutable, but useful and revealing attachment to the western Canadian Native American culture, and at other times seen as a leading and much-lauded artist gaining wide attention for Canada's art and indigenous peoples. Always feeling like an outsider herself, Carr gravitated toward the Native American culture at a time when most Canadians had little interest in it and assumed it would before long die out from neglect and obsolescence. But the 1927 Exhibition of Canadian West Coast Art, Native and Modern, manifest the Canadian government's changed attention to the country's First Nations. Display of paintings of Carr's at this major Exhibition brought her notice throughout Canada and beyond. She became established as a leading modern Canadian artist not only for her subjects which are now seen as typically Canadian, but also for the modernism of her style. Her paintings of totem poles, totemic figures such as bears and eagles, and buildings and nature scenes have pronounced primitivist and cubist elements; and most are done in bold, simple strokes and patches in darker tones evoking expressionism. With her subjects and her style, Carr made a lasting place for herself in the fields of Native American and modernist art. ... Read more

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Chapters: Contemporary Art Gallery, Emily Carr House, Vancouver Art Gallery, Kelowna Art Gallery, Evergreen Cultural Centre, Morris and Helen Belkin Art Gallery, or Gallery, Western Front Society, Heffel Gallery, Bau Xi Gallery, Art Gallery of Greater Victoria, Centre A. Source: Wikipedia. Pages: 43. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt:The Contemporary Art Gallery (CAG) is the only independent, non-profit public art gallery in downtown Vancouver. The CAG exhibits local, national, and international artists, primarily featuring emerging local artists producing Canadian contemporary art. It has exhibited work by many of Vancouver's most acclaimed artists, including Stan Douglas, Ian Wallace, Rodney Graham, Liz Magor, and Brian Jungen, and it continues to feature local artists such as Damian Moppett, Stephen Waddell, Shannon Oksanen, Elspeth Pratt, Myfanwy MacLeod, and many others. International artists who have had exhibitions at the CAG include Dan Graham, Christopher Williams, Rachel Harrison, Hans-Peter Feldmann and Ceal Floyer. Other notable people that have curated or written for the CAG include Douglas Coupland, Beatriz Colomina, Roy Arden, and John Welchman. Apart from the exhibition of visual art, the Contemporary Art Gallery produces publications, facilitates education and outreach programs, public talks, and visiting artist/curator programs, and maintains a library. Established in 1971, the Contemporary Art Gallery (originally called the Greater Vancouver Artist's Gallery) began as an outgrowth of the Social Planning Department of the City of Vancouver, in which Vancouver artists were hired for a six month period to produce art for exhibition at the gallery, and for inclusion in the City of Vancouver Art Collection. In 1976, the CAG was incorporated as a registered fe...More: http://booksllc.net/?id=23543685 ... Read more

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Despite the isolating factors of geography, poor finances and failing health, Emily Carr was connected to the major cultural figures and movements of her time. This publication focuses on Carr's influences and inspirations, including European modern art, the Group of Seven artists and First Nations artists. Emily Carr is revealed as an artist who combined a multitude of contemporary artistic concerns with her personal experience and her connection to the West Coast landscape. ... Read more

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Chapters: Lynn Johnston, Buffy Sainte-Marie, Iris Häussler, Guity Novin, Emily Carr, Fiona Bowie, Alanis Obomsawin, Barbara Howard, G. B. Jones, Adriana de Barros, Danièle Rochon, Julie Doucet, Clara Sipprell, Floria Sigismondi, Marie-Josée Saint-Pierre, P. K. Page, Frances-Anne Solomon, Shelagh Armstrong, Lisa Steele, Daphne Odjig, Valerie Campbell-Harding, Alma Duncan, Janice Tanton, Sharon Barr, Michaele Jordana, Jean Mathieson, Molly Lamb Bobak, Janet Cardiff, Elizabeth Simcoe, Jill Greenberg, Heidi Hollinger, Helen Kalvak, Ruth Howard, Sybil Andrews, Sylvie Bélanger, Agnes Martin, Isabel Mclaughlin, Sally Davies, Elizabeth Bradford Holbrook, Tagaq, Maud Lewis, Betty Beaumont, Martha Ladly, Annie Pootoogook, Rebecca Belmore, Faith Erin Hicks, Dora de Pedery-Hunt, Freda Pemberton Smith, Sue Richards, Anita Kunz, Laura Letinsky, Geneviève Cadieux, Betty Goodwin, Paraskeva Clark, Marian Bantjes, Mildred Valley Thornton, Lynn Richardson, Kim Ondaatje, Christi Belcourt, Gariné Torossian, Margaret Lindsay Holton, Susanna Blunt, Claire Van Vliet, Midi Onodera, Prudence Heward, Naomi Harris, Sara Genn, Sky Lee, Lorraine Monk, Beaver Hall Group, Myfanwy Pavelic, Rachel Berman, Kate Armstrong, Anne Langton, Mary Pratt, Caroline Leaf, Vessna Perunovich, Pia Guerra, Dana Wyse, Myfanwy Ashmore, Jin-Me Yoon, Jessie Oonark, Doris Mccarthy, Laurel Johannesson, Claire Meunier, Marie-Louise Gay, Gillian Mciver, Joyce Wieland, Nathalie Quagliotto, Phyllis Grant, Jill Culiner, Barbara Braunohler, Sylvia Daoust, Mimi Parent, Amelia Alcock-White, Marcelle Ferron, Amelia Frances Howard-Gibbon, Jocelyne Alloucherie, Erella Ganon, Lucille Oille, Germaine Koh, Anne Savage, Mary Scott, Geneviève Castrée, Henrietta Shore, Julie Moos, Farah Nosh, Lynne Cohen, Pegi Nicol Macleod, Magda Szabo, Kathleen Munn, Unity Bainbridge, Rae Perlin, Cathy Busby, Micheline Beauchemin, Veronica Kvassetskaia Tsyglan, Jan Peacock, Sarah Teitel, Florence Carlyle, Rose...More: http://booksllc.net/?id=418634 ... Read more

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This digital document is an article from Canadian Ethnic Studies Journal, published by Canadian Ethnic Studies Association on March 22, 2004. The length of the article is 916 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Emily Carr: at the Edge of the World.(Book Review)
Author: Corey Coates
Publication: Canadian Ethnic Studies Journal (Refereed)
Date: March 22, 2004
Publisher: Canadian Ethnic Studies Association
Volume: 36Issue: 1Page: 154(3)

Article Type: Book Review

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