Prologue

Gershon Iskowitz, Market (c. 1952–4),
coloured ink, gouache, pen and black ink on illustration board
51.9 x 60.7 cm
Collection, National Gallery of Canada, Gift of Joey, Toby, and Alan Tanenbaum, Toronto.

Figure 2.1

Convergence in the use of experiential and theoretical concepts in social psychology abstracts over a hundred-year period.

Figure 11.1

Tony Scherman
Poseidon (2007),
Encaustic
53 15/16 x 59 13/16 in.
Collection, McMaster Museum of Art, Hamilton, Gift of the artist.

Figure 11.2

Gerald Cupchik standing next to a portrait of himself by Harry Tiefenbach (2012)
Oil on canvas
30 x 36 in.
Property of the artist
Photograph by Sara Loftus, edited with Joseph Stewart.

Figure 11.3

Lanny Shereck
Rick Oginz in his studio (2012)
Oil on canvas
48 x 42 in.
Property of the artist.

Figure 11.4

Michael Gerry
Mabel’s (2014)
Acrylic on canvas
10 x 12 in.
Property of the artist.

Figure 11.5

Michael Gerry
Underpass at Symington (2014)
12 x 12 in.
Property of the artist.

Figure 11.6

Bob Koosy
Three Inuit women (2003)
Ancient whalebone from the Nunavut coast, Northwest Territories, Canada, and alabaster with copper inlay, Cape Dorset serpentine and Brazilian soapstone (height 13.5 in.)
Private collection. Photographed by Ken Jones.

Figure 11.7

Bob Koosy
Three Inuit women (2003)
composite photograph of the three images placed on the whalebone background
Photographed and edited by Sara Loftus, 2014.

Figure 11.8

Andy Patton
Splendours of the imperial Capital (2008)
Oil on canvas
66 x 48 in.
Private collection of Alice and Ron Charach, Toronto.

Figure 11.9

Andy Patton, Splendours of the Imperial Capital, detail.

Figure 11.10a & b

Bernie Lubell
Etiology of innocence (1999)
Sculptural installation.

Figure 11.11

Bernie Lubell
Etiology of innocence
Flow chart of the piece.

Figure 11.12

Bernie Lubell
Etiology of innocence
Conceptual flow chart.

Figure 11.13

Bernie Lubell
Etiology of innocence
Marey diagram.

Figure 11.14

Stacey Spiegel
Public installation, Rockheim – 1960s

Figure 11.15

Stacey Spiegel
Public installation, Rockheim – 2000s

Figure 11.16

Stacey Spiegel
Public installation, Dream generator

Figure 11.17

Yuval Avital
Summer house in Rayol-Canadel-sur-Mer from multimedia musical composition titled UTOPIAS: Icon/sonic postcards for solo percussions, video and tape

Figure 12.1

Jean Clottes
“Fighting rhinoceroces and four horses’ heads”
(from Clottes, 2008, p. 39).

Figure 12.2

Anosha Zanjani
Cartoon illustration
Why did cave artists draw images mostly of animals?

Figure 13.1

Jean-Joseph Taillasson
Hard-edge painting
Rhadamistes and Zenobia (1806)
Oil on canvas
56 15/16 x 72 7/16 in.
Collection, McMaster Museum of Art, Hamilton, Levy Bequest Purchase.

Figure 13.2

Chaim Soutine
Soft-edge painting
Paysage à Céret (c. 1919)
Oil on canvas
26 x 21 1/2 in.
Collection, McMaster Museum of Art, Hamilton, Levy Bequest Purchase

Figure 13.3

Analysis of Jackson Pollock’s Reflections of the Big Dipper (1947)
Oil on canvas
Image progression shows, from left, fragment of the original painting; blob structure (black pigment); luminescence edge structure (white regions)
From Mureika, Cupchik, and Dyer, 2004.

Figure 13.4

Examples of Chinese and Western landscape paintings with control conditions.
From Wang et al., 2015.

Figure 13.5

Examples of Chinese faces and moral scenes.
From Wang et al., 2014.

Figure 13.6

Lanny Shereck
Fallen angel (1991)
Painted wood sculpture
Height 5 ft.
Painting in background 6 x 16 ft.
“Heaven, earth, fire, water”, solo show
Campus Gallery, University of Toronto at Scarborough.

Figure 13.7

Stacey Spiegel
Reactor core (1991)
Thirty-seven Pyrex tubes filled with agricultural seeds positioned horizontally between two large aluminum discs
Collection of the Winnipeg Art Gallery.

Figure 13.8

Lanny Shereck
Composite of four scenes involving finely modelled plaster figures (average height 22 in.)
Painted in glazed technique with acrylics, from a public art show at the York Quay Gallery, Harbourfront Centre in Toronto, June 1995.

Figure 13.9

Rochelle Rubinstein
Howdy doody nursing (1990)
Woodblock printed and painted xerox
44 x 33 in.
Property of the artist.

Figure 13.10

Rochelle Rubinstein
Leaving (1991)
Linocut printed and painted paper
6 x 4 in.
Property of the artist.

Figure 14.1

The Mona Lisa once removed
photograph by Valerie Damasco (2011).

Figure 14.2

Simulated nineteenth-century salon
“Art as therapy” Exhibition
Art Gallery of Ontario (2015).

Figure 14.3

Politics installation
“Art as therapy”
Exhibition, Art Gallery of Ontario (2015).