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Iain Baxter&’s art career, spanning from the mid-1960s to the present, has focused on photography and conceptual art, but he is best known for his early creative collaborations under the guises of ‘IT’, ‘N.E. Baxter Thing Company’, and the ‘N.E. Thing Company’. As Ray Cronin writes, “Baxter&’s practice, his art at the speed of thought, serves to remind us that conceptual art started as a seeking after information, an opening up of possibilities and an eschewing of all to simple certainties. Art is all over, Baxter& maintains, but that is not proscriptive. Art is everywhere, there for the finding, if one is only open to the possibility.”
Winner, Canadian Museums Association Outstanding Achievement in Publication and Melva J. Dwyer Award
Iain Baxter legally changed his name to IAIN BAXTER& in 2005. He appended an ampersand to his name to underscore that art is about connectivity — about contingency and collaboration with a viewer. He also effected the name change to perpetuate a strategy of self re-definition that is central to his creative project. BAXTER& began making art in the late-1950s under his birth name but quickly realized that the name itself was creative material, to be deployed, manipulated, and shared. In 1965, he formed a collaborative art-making entity which evolved into N.E. Thing Company, a corporate-styled entity whose co-presidents were BAXTER& and his wife Ingrid. Producing a diverse array of projects that encompassed conceptually based photography, pioneering works of appropriation art, and gallery transforming installations, the N.E. Thing Company offered a new model of art making, allowing the artists to remain anonymous and masquerade in the guise of business people.
Following the dissolution of N.E. Thing Company in 1978, BAXTER& produced extensive bodies of work with Polaroid film, created numerous installations that blended painting and sculpture, and made pedagogy a focus of his creative enterprise. Consistent themes permeate his work and vector through his thinking. And by assessing these themes — a relentless emphasis on reaching out to the viewer, a core concern with ecology and the environment, and a belief that art must assume plural means and media — one discerns BAXTER&’s creative credo, understanding that “art is all over.”
This comprehensive book reviews BAXTER&’s remarkable career across all media. It accompanies a major international touring exhibition, which opened at the Museum of Contemporary Art, Chicago in November 2011 and at the Art Gallery of Ontario in April 2012. Featuring more than 160 reproductions of BAXTER&’s work, it also includes essays by the exhibition’s curator, David Moos, along with contributions by Michael Darling (James W. Alsdorf Chief Curator, Museum of Contemporary Art, Chicago), Alex Alberro (Associate Professor, University of Florida), and others. The book will also feature a comprehensive bibliography compiled by Adam Lauder (W.P. Scott Chair for Research in E-Librarianship, York University).
In celebration of National Poetry Month 2015, the Literary Press Group has put together a selection of poetry from both established and emerging Canadian poets featured on All Lit Up. This rich sampling of poetic voices will inspire you, the reader, to discover both new and classic poets from Canada’s vibrant and thriving literary landscape.
Poets featured include Annharte, Oana Avasilichioaei, Elizabeth Bachinsky, Clara Blackwood, Chris Bose, George Bowering, Kayla Czaga, Marilyn Dumont, Karen Enns, Raoul Fernandes, George Fetherling, Natasha Kanapé Fontaine, Patrick Friesen, Catherine Graham, Sonja Greckol, Phil Hall, Brecken Hancock, Kate Hargreaves, Emma Healey, Jim Johnstone, Ben Ladouceur, Sharon McCartney, Amber McMillan, Arleen Paré, Soraya Peerbaye, Sandy Pool, Stan Rogal, Damian Rogers, Sheila Stewart, John Wall Barger, Patrick Warner, and Shoshanna Wingate.
En septembre 2013, des milliers d’oiseaux chanteurs en migration sont attirés comme des papillons de nuit par la torchère de Canaport Liquefied Natural Gas, à Saint-Jean, au Nouveau-Brunswick. C’est l’hécatombe. Le photographe Thaddeus Holownia et le poète Harry Thurston forment alors le projet de commémorer la catastrophe, mais comme un procès a été intenté, les oiseaux morts sont conservés comme autant de pièces à conviction au Musée du Nouveau-Brunswick. Au bout de deux longues années, Holownia et Thurston y ont enfin accès.
Icare, chute d’oiseaux réunit les photographies de Holownia et la poésie de Thurston. Les oiseaux, brisés et brûlés, tombent sans fin d’une page à l’autre, en regard des vers de Thurston qui racontent le voyage tragique de ces migrateurs qui « percent de leurs ailes telles une aiguille à broder / le rideau de brouillard qui s’accroche au littoral », quand « une fausse étoile / brille de mille feux » et les entraîne vers la mort.
In his third collection, Icarus Redux, Matt Santateresa’s poems come alive with the intelligence and wit that are his trademark. Whether creating luminous dreamscapes or meditating on Ovid by the Black Sea, Santateresa gets below the surface of images and into their substance. In the titular sequence, ‘Icarus Redux,’ he delivers a startling revision of the myth of Icarus. In between the construction of his wax wings by an emotionally remote father and the downward plummet of his fall, this Icarus watches television, listens to the radio, complains on the phone and worships daredevil Evil Knieval. Through this collection, its flair for dramatic situations, and its spirited, lively language, a talented poet comes into his own.
In September of 2013, thousands of migratory songbirds perished after being lured like moths to a flame to a hundred-foot-high flare at the Canaport Liquefied Natural Gas plant in Saint John, New Brunswick. Photographer Thaddeus Holownia and poet Harry Thurston sought to memorialize this fateful event, but with Canaport LNG on trial, the fallen birds were collected and held as evidence at the New Brunswick Museum. After two long years, Holownia and Thurston finally gained access.
Icarus, Falling of Birds pairs Holownia’s photography with the poetry of Thurston. In these pages, the burned and damaged bodies of the birds are perpetually falling, while Thurston recounts their great migration: how “they wing like embroidery / through the drapery of fog that clings / to this coast” and of “a false star / burning bright,” that claims them.
What do we stand to lose in a world without ice?
A decade ago, novelist and short story writer Jean McNeil spent a year as writer-in-residence with the British Antarctic Survey, and four months on the world’s most enigmatic continent — Antarctica. Access to the Antarctic remains largely reserved for scientists, and it is the only piece of earth that is nobody’s country. Ice Diaries is the story of McNeil’s years spent in ice, not only in the Antarctic but her subsequent travels to Greenland, Iceland, and Svalbard, culminating in a strange event in Cape Town, South Africa, where she journeyed to make what was to be her final trip to the southernmost continent.
In the spirit of the diaries of Antarctic explorers Robert Falcon Scott and Ernest Shackleton, McNeil mixes travelogue, popular science, and memoir to examine the history of our fascination with ice. In entering this world, McNeil unexpectedly finds herself confronting her own upbringing in the Maritimes, the lifelong effects of growing up in a cold place, and how the climates of childhood frame our emotional thermodynamics for life. Ice Diaries is a haunting story of the relationship between beauty and terror, loss and abandonment, transformation and triumph.
Winner of the Banff Mountain Book Festival Grand Prize and one of the Guardian’s Best Books of 2016, now in paperback.
“Ice Diaries is stunningly written and should be on the shelf of anyone fascinated by the globe’s final geographic and psychic frontier.” — The New York Times
“It’s a discussion of the Antarctic as a physical landscape—its impact on the imagination—and an exploration of one person’s inner world.” — The Chicago Tribune
British Canadian novelist Jean McNeil spent a year as writer-in-residence with the British Antarctic Survey, and four months on the world’s most enigmatic continent — Antarctica. Access to the Antarctic remains largely reserved for scientists, and it is the only piece of earth that is nobody’s country. Ice Diaries is the story of McNeil’s years spent in ice, not only in the Antarctic but her subsequent travels to Greenland, Iceland, and Svalbard.
In the spirit of the diaries of earlier Antarctic explorers, McNeil mixes travelogue, popular science, and memoir to examine the history of our fascination with ice. In entering this world, McNeil unexpectedly finds herself confronting her own upbringing in the Maritimes, the lifelong effects of growing up in a cold place, and how the climates of childhood frame our emotional thermodynamics for life. Ice Diaries is a haunting story of the relationship between beauty and terror, loss and abandonment, transformation and triumph.
The women’s team, which hails from Winnipeg, and the men’s team, based in Sault Ste. Marie, dominated the Sochi Olympic curling events, setting records and capturing the hearts of millions of Canadians. Now Winnipeg Sun sports editor Ted Wyman shares the stories of Canada’s favourite curlers. With exclusive interviews and in-depth profiles, Ice Gold delves into each player’s beginnings in the sport, the formation of the teams, their road to the Olympics, and their gold-medal triumphs.
Learn how Jennifer Jones and Jill Officer became an inseparable tandem after meeting at the Highlander Curling Club; how two brothers, E.J. and Ryan Harnden, and their cousin, Brad Jacobs, went from aspiring hockey players to gold-medal curlers; and how Mike Babcock’s inspiring words helped the men’s curling team out of their early Olympic slump.
This full-colour coffee-table-format art book of Arctic and Antarctic photographs by the late Klaus Hochheim captures both the working life and the artistic eye of this ice researcher, who died accidentally in 2013 while conducting research in the Arctic. In the tradition of great modernist photographers, Hochheim’s pictures offer intimate seeing and profound clarity. This beautiful book of 78 large-scale photos exhibited in 2024 also includes essays by exhibition curator Sarah Hodges-Kolisnyk and ice scientist David Babb, and a foreword by Martha Hochheim, the photographer’s widow.
A wealthy businessman wakes up bound and gagged in a utility shed, kidnapped by his own employees—brothers and icemen Joe and Rennie. In the midst of the Great Depression, the brothers’ ice harvesting livelihood in Kempenfelt Bay is melting away due to the advent of refrigeration, only to further line the pockets of their employers. Desperate to claim what is rightfully theirs, these honest workers turned reluctant captors will stop at nothing to bring their greedy boss to a final reckoning. ICEMEN by Governor General’s Literary Award–winning playwright Vern Thiessen is an edge-of-your-seat thriller that exposes the human cost of capitalism and asks, when the wealthy exploit the working class, who are the real criminals?
The little-known true story of a mysterious nuclear reactor disaster — years before Three Mile Island, Chernobyl, or Fukushima
Before the Three Mile Island incident or the Chernobyl disaster, the world’s first nuclear reactor meltdown to claim lives happened on U.S. soil. Chronicled here for the first time is the strange tale of SL-1, an experimental military reactor located in Idaho’s Lost River Desert that exploded on the night of January 3, 1961, killing the three crewmembers on duty.
Through exclusive interviews with the victims’ families and friends, firsthand accounts from rescue workers and nuclear industry insiders, and extensive research into official documents, journalist William McKeown probes the many questions surrounding this devastating blast that have gone unanswered for decades.
From reports of faulty design and mismanagement to incompetent personnel and even rumors of sabotage after a failed love affair, these plausible explanations raise startling new questions about whether the truth was deliberately suppressed to protect the nuclear energy industry.
“The world of Tony Burgess is savage and blackly funny … It’s a place where you shouldn’t trust anybody, not even your narrator.” — Uptown Magazine
“Idaho Winter is absurd and acceptable at the same time; its prose is pleasurable and unnerving.” — Globe and Mail
Shortlisted for the Trillium Book Award
Idaho Winter is a boy who, through no fault of his own, is loathed by everyone in his town. His father feeds him roadkill for breakfast, the crossing guard steers cars toward him as he crosses the road, and parents encourage their children to plot against him. That is, until he meets a young girl named Madison who empathizes with his suffering. But when Madison is attacked by dogs meant to harm Idaho, Idaho gets up and runs home, changing the course of the entire story …
Idaho soon learns that his suffering has been cruelly designed by a clumsy writer who has made his book meaner than all the others to make it stand out. With this information, Idaho has become armed with the knowledge that the entire world is invented, and that he now has the power to change things — in a novel that is both “one of the finest parodies ever penned of the stereotypically didactic young adult novel” (Macleans) and “the most brilliantly terrifying dream you’ve ever had” (The Globe and Mail).