The Gallery's publication program presents new ideas for understanding the social, historical, political. and aesthetic realms in which many of today's artworks exist. Intended for a contemporary art audience, these publications offer valuable interpretations of critical art theories. Many are published as Walter Phillips Gallery Editions by the Banff Centre Press.
To order a publication, email firstname.lastname@example.org or call 403.762.6281
- Full listing of Walter Phillips Gallery Publications (33 MB, pdf)
Frances Stark: My Best Thing (2012)
This intimate publication focuses on Frances Stark's pivotal feature length video My Best Thing, a digital video animation, which traces the development of two sexual encounters that progress into conversations about film, literature, art, collaboration and subjectivity. British curator Mark Godfrey captures the density of this recent work by Stark with an in-depth essay considering the artist's use of online sex-chat rooms as vehicles for her creative process. Godfrey addresses Stark's resolve in representing her broad and at times clashing interests from her recently found enthusiasm for the controversial dancehall musician Beenie Man to her homage for the highly respected feminist painter Sylvia Sleigh. In conveying the complexity of her interests Stark manages to imbue these commonly disparaged internet sites, as well as their users, with positive, productive and social characteristics. In Stark's depiction, as Godfrey states, 'strangers meet, communicate, share ideas rather than brand preferences, and change how each one sees the world.' Authors: Mark Godfrey, Jenifer Papararo, Kitty Scott, Nigel Prince
This book is published on the occasion of the exhibition of My Best Thing by Frances Stark at Walter Phillips Gallery, Banff (Sept. 24 - Dec.11, 2011) and Contemporary Art Gallery, Vancouver (Feb. 3 - Apr. 15, 2012)
Publisher: Koenig Books, London; Contemporary Art Gallery, Walter Phillips Gallery
88 pages, soft cover
32 colour images
10 x 14 cm
Anthony Burnham: Even Space Does Not Repeat (2011)
Essays by Marie-Ève Charron, Diana Nemiroff, and Naomi Potter.
Co-published with Carleton University Art Gallery, Ottawa
Montreal-based painter Anthony Burnham is part of a younger generation of artists who are engaged in re-examining the practice of painting with works that allude to the history and conditions of the medium. The essays in this first monograph discuss the importance of the document to his working methodology and shed light on the processes and ideas that inform his paintings.
112 pages, soft cover, bilingual
15 b/w, 28 colour images
16.5 x 24 cm
Raising Frankenstein: Curatorial Education and Its Discontents (2010)
Essays by Barbara Fischer, Teresa Gleadowe, Francesco Manacorda, Cuauhtémoc Medina, and Lourdes Morales
Coproduced with Koenig Books, Cologne
Raising Frankenstein: Curatorial Education and Its Discontents presents compelling new writing that explores the education and formation of curators. Edited by Kitty Scott and including essays by Barbara Fischer, Teresa Gleadowe, Francesco Manacorda, Cuauhtémoc Medina, and Lourdes Morales, this book offers an overview of recent thinking on curatorial pedagogy, designed to elucidate, define and build on current debates surrounding this subject.
The questions posed here are timely and provocative. The five essays, complemented by a collective discussion, provide a set of cogent inquiries and analyses for all those, from students to practitioners, who concern themselves today with the presentation and theorization of contemporary art. At its heart lies the single question, “Where does the curatorial profession reside?”
Raising Frankenstein is developed from the conference Trade Secrets: Education/Collection/History, organized by the Banff International Curatorial Institute in collaboration with Teresa Gleadowe, and held at The Banff Centre, November 12-14, 2008.
110 pages, softcover
25 b/w, 2 colour images
12 x 18 cm
Ron Terada: Who I Think I Am (2010)
Essays by Cliff Lauson, Anne Low, Tom McDonough
Coproduced with Ikon Gallery, Birmingham; and Justina M. Barnicke Gallery, Toronto
Published to coincide with exhibitions at Ikon Gallery, Birmingham; Justina M. Barnicke Gallery, Toronto; and Walter Phillips Gallery, Banff; this publication covers the most comprehensive collection to date of work by Ron Terada. His work is fundamentally an acknowledgement of the existence of others, allowing us to dwell on the nature of the art world within wider cultural contexts. The appropriation we see here, of other people’s text, of other people’s design, of other people’s music, is not the result of some slack, dead-end postmodernism, bur rather the outcome of a rare sensitivity and openness. His work is about the small differences that we all make, in any situation, simply by being alive.
96 pages, hardcover
10 b/w, 53 colour images
25 x 31 cm
Silke Otto-Knapp: Present time exercise (2009)
Essays by Suzanne Cotter, Jan Verwoert,
Coproduced with Modern Art Oxford,
Oxford, United Kingdom
This publication was published to coincide with exhibitions at Modern Art Oxford, Oxford, UK, and Walter Philips Gallery, Banff, Alberta. This fully illustrated monograph surveys Otto-Knapp’s paintings from 2003 to the present, with essays by Suzanne Cotter, Jan Verwoert, and Catherine Wood.
120 pages, paperback
51 colour images
22 x 27 cm
The World Upside Down (2008)
Edited by Richard William Hill
Essays by Richard William Hill, Cheryl L’Hirondelle, and Joseph Nayhowtow
Coproduced with Agnes Etherington Art Centre, Kingston, Ontario; Art Gallery of Greater Victoria, Victoria, British Columbia; Musée d’art de Joliette, Joliette, Quebec
This catalogue accompanies World Upside Down, an exhibition curated by Richard William Hill that originated at the Walter Phillips Gallery in September 2006. The catalogue surveys the strategy of “symbolic inversion” used by contemporary artists, while also providing historical context on Western and Indigenous North American traditions of inversion. As an artistic strategy, inversion has the potential to illuminate and challenge the visual conventions that police social hierarchies, making power relations explicit. The world upside down is one in which the symbolic order is turned on its head. It is a world visualized by artists where rabbits hunt humans and Superman is a hero of the Soviet Union. It is the Planet of the Apes and a planet where British aristocrats lose their heads when dressed in African fabrics. In each inversion an artist has turned a hierarchical dichotomy upside down, but in most cases the dichotomy itself doesn’t survive the trip. It breaks down under the strain of its own absurdity and for a moment we are liberated from its tyranny.
176 pages, hardcover
21 b/w, 43 colour photographs
19 x 28.5 cm