Western Canada's art magazine since 2002
18 December 2018 Vol 3 No 26 ISSN 2561-3316 © 2018
From the Editor
Portia Priegert
Writing and the visual arts have a special relationship. Like the yin-yang symbol, these two ways of knowing can nest together sensorially, creatively and intellectually.
While some might lean to the instant thrill of an eye-catching image, others prefer the thoughtful unfolding of text’s looping byways.
Then there are those who occupy central ground, balancing on the brain’s neural paths like a rope walker, teetering one way and the other.
This is the niche of my ideal art book, a lushly illustrated tome with sumptuous production values, combined with sterling language and new ideas to spark the mind.
For me, browsing in the art section of a bookstore can occasion wanton yearning. There is captivation and desire, impulsive budget-shattering decisions, but, ultimately, little regret for the pleasures of a new book.
Not surprisingly, I enjoy putting together the Galleries West annual art books issue each December.
This year, four books are highlighted – Anthropocene, What It Means to Write About Art: Interviews with art critics, At Home: Talks with Canadian Artists About Place and Practice and Who Killed Tom Thomson?
We also include a story about the Art Canada Institute, which has published 30 free online books over the last five years, and a roundup of this year's books about Canadian art.
Over the coming two weeks, we will unspool our next issue, Reboot 2018, which highlights interesting news and events from the past year. It will be pulled together as an issue on Tuesday, Jan. 1, the first of three biweekly issues in January.
I wish you happy reading over the holidays – along with plenty of good cheer with friends and family.
Until next time,
CONTRIBUTORS THIS ISSUE: Paul Gessell, Maureen Latta, Sarah Swan
