Edmund and the Paradigm of Contemporary Art | Gilles Lapointe

2016 was a busy year for art historian Gilles Lapointe who participated ton the book Edmund and the Paradigm of Contemporary Art which accompanies the retrospective that was devoted to the artist at the Musée d’art contemporain de Montréal from May 19 to September 25, 2016.


See details:

Published in French and English

Edmund Alleyn et le paradigme de l’art contemporain », Edmund Alleyn, dans mon atelier, je suis plusieurs, Montréal, Musée d’art Contemporain de Montréal, 2016, p. 15-21. Published under the title « Edmund and the Paradigm of Contemporary Art », op. cit., p. 27-42. [Traduction by Peter Feldman.]

« Chronologie [Edmund Alleyn] », Edmund Alleyn, dans mon atelier, je suis plusieurs, Montréal, Musée d’art Contemporain de Montréal, 2016, p. 168-181. PPublished under the title « Chronology », op. cit., p. 184-197. [Traduction by Judith Terry]

« Bibliography [Edmund Alleyn] » Edmund Alleyn, dans mon atelier, je suis plusieurs, Montréal, Musée d’art Contemporain de Montréal, 2016, p 200-209.

To know more about the book : http://www.macm.org/expositions/edmund-alleyn/

ISBN : 978-2-551-25749-2

To know more about the author :

Professor at the Department of Art History at Université du Québec at Montréal, Gilles Lapointe is renown as a specialist of the Automatist movement to which he has devoted several writings. Among these, let us mention the monumental critical edition of Borduas’ writing, Écrits I (1987) et Écrits II (1997) de Paul-Émile Borduas, published at Presses de l’Université de Montréal and produced in collaboration with André G. Bourassa and Jean Fisette as well as the poet Claude Gauvreau’s letters to the artists, Lettres à Paul-Émile Borduas (2002) de Claude Gauvreau. In collaboration with André G. Bourassa, he published Refus global et ses environs (L’Hexagone, 1988) and Refus global et autres écrits (L’Hexagone, 1990). In 1995, he publishes at l’Hexagone an annotated edition Écrits sur l’art de Claude Gauvreau and in 1997, at Lidec, in the collection “Célébrité”, a biography entitled Paul-Émile Borduas.
Since1988, he has collaborated to several exhibitions including « Refus global et ses environs » presented at Bibliothèque nationale du Québec in 1988, « Saint-Hilaire et les automatistes », with the art historian François-Marc Gagnon, in the Summer 1997 at Musée d’art de Mont-Saint-Hilaire and, with the museologist Raymond Montpetit, an exhibition entitled « Un regard sur Percé: Paul-Émile Borduas photographe (1938) » presented in 1998 at Bibliothèque nationale du Québec.
Also interested in the issues at stake with americanity, he cosigned, with the artist René Derouin, Pour une culture du territoire (2001), Les Jardins du précambrien (2007) and Graphies d’atelier (2013). In 2005, il published at Éditions du passage, in collaboration with Ginette Michaud and Jocelyn Jean, a collective work entituled Edmund Alleyn. Indigo sur tous les tons and in 2008, at Fides, an essay entitled La Comète automatiste. Among his most recent works, let us point out the publishing in 2013, at Éditions du passage, in collaboration with the filmmaker Jennifer Alleyn, of Edmund Alleyn, De jour, de nuit (2013) and By day, by night (2013) and, in 2014, in collaboration with Élisabeth Nardout-Lafarge and Sylvie Readman, of L’Hiver de force à pas perdus (2014). His essay, l’Envol des signes. Paul-Émile Borduas et ses lettres, has earned him Gabrielle-Roy and Victor-Barbeau Awards in 1996.

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