Regarded as one of Canada's finest still life realist artists, Mary Pratt's luminescent paintings form the visual focus of Goose Lane Edition's Mary Pratt, a career retrospective that examines every aspect of this unique artist's creative journey. Featuring seventy-four full colour reproductions of Pratt's most renowned works and a complete chronology of her career, including an selected list of her solo and group exhibitions, the book is augmented with a series of essays by five acclaimed art critics, curators and essayists.
In "Look, Here", Mireille Eagan deftly dissects Pratt's craft by examining the relationship between location, subject and technique in her work. Sarah Fillmore's "Vanitas" visits the artist at home, giving a firsthand account of how the simple pleasures found in the family kitchen served as the inspiration for some of Pratt's most revered pieces. "A Woman's Life" by Sarah Milroy is a detailed discovery of how the women in Pratt's past defined her presence, and informed her future. Catharine M. Mastin studies the artist as a young woman in "Base, Place, Location and the Early Paintings", which traces the roots of her creative identity from the streets of Fredericton, New Brunswick to the shores of the Avalon Peninsula in Newfoundland. In "Bedevilling the Real", Ray Cronin argues that Pratt's evocative illusions defy characterization and redefine the relationship between realism and representation.
Mary Pratt is published by Goose Lane Editions in conjunction with an exhibition of her art, organized by The Rooms Provincial Art Gallery, and the Art Gallery of Nova Scotia. The exhibit will be appearing in St. John's (May 2013-September 2013) and Halifax (September 2014-January 2015) before travelling to the Art Gallery of Windsor (September 2013-January 2014), the McMichael Canadian Art Collection in Kleinburg, Ontario (January 2014-April 2014), and the MacKenzie Art Gallery in Regina (May-August 2014).
Ray Cronin is a graduate of the Nova Scotia College of Art and Design (BFA) and the University of Windsor (MFA). Cronin is Director and CEO of the Art Gallery of Nova Scotia, where he has held various posts since 2001 including Curator of contemporary art and founding Curator of the Sobey Art Award. The author of several catalogue essays and numerous articles for Canadian and American art magazines, in 2000 he received the Christina Sabat Award for Critical Review in the Arts. His recent and upcoming curatorial projects include survey exhibitions of the work of Thierry Delva, Nancy Edell, Chris Hanson and Hendrika Sonnenberg, as well as the nationally touring exhibitions Graeme Patterson: Woodrow and Arena: The Art of Hockey.
Mireille Eagan is Curator of Canadian Art at The Rooms Provincial Art Gallery, St. John's, a position she has held since January 2010. Prior to this, she was Curator at the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island. Eagan has lectured nationally on Canadian art and has published several catalogues and essays on Canadian artists. She has a special interest in promoting the activities of artists based in the Atlantic provinces.
Sarah Fillmore is the Chief Curator at the Art Gallery of Nova Scotia and Curator of the annual Sobey Art Award.
Catharine Mastin is Director of the Art Gallery of Windsor and Adjunct Associate Professor at the University of Windsor. She has held doctoral fellowships from the Social Sciences and Humanities Research Council of Canada and the University of Alberta.
Sarah Milroy is the former editor and publisher of Canadian Art magazine and a co-founder of the Canadian Art Foundation. From 2001 to 2010, she served as chief art critic of the Globe and Mail. Since leaving that post, she continues to freelance for the Globe and Mail, Canadian Art, Walrus, and Border Crossings and has contributed essays to catalogues on the work of Canadian artists Greg Curnoe, Jack Chambers, Gathie Falk, Fred Herzog, and Mary Pratt. She lives in Toronto.
Caroline Stone is Curator of Collections at The Rooms Provincial Art Gallery, St. John's, joining the gallery when it was established in 2003. For twenty years, she worked in art exhibition and education roles for its predecessor, Memorial University of Newfoundland Art Gallery/Art Gallery of Newfoundland and Labrador.