Edited by Dr. Katharine Lochnan
By (artist) David Blackwood
By Michael Crummey, Sean T. Cadigan, Martin Feely, Derek H.C. Wilton, and Caoimhe ní Shúilleabháin
David Blackwood was born in 1941 in the outport community of Wesleyville, to a family with a long seafaring history. Recognized as an artistic prodigy, he was awarded a Government of Newfoundland Centennial scholarship to study at the Ontario College of Art, in Toronto. By the ... Read more
David Blackwood was born in 1941 in the outport community of Wesleyville, to a family with a long seafaring history. Recognized as an artistic prodigy, he was awarded a Government of Newfoundland Centennial scholarship to study at the Ontario College of Art, in Toronto. By the age of twenty-three, one of his etchings had been purchased by the National Gallery of Canada.
Blackwood has been telling stories about Newfoundland in the form of epic visual narratives for 30 years. To bring this narrative to life, the book situates Blackwood's prints in time and space by looking at the history of Newfoundland and the people who settled there. Blackwood explores the timeless theme of the struggle for survival between humans and nature in one of the most exposed and hostile environments on Earth. He depicts a town and a centuries-old way of life that has disappeared. His dramas encapsulate class, gender, and intergenerational issues that can only be understood in the context of the formation of the landscape, its natural resources, immigration and settlement, religious and political debate, economic and social conditions, and the environmental threat to the survival of traditional lifestyles.
Blackwood has created an iconography of Newfoundland which is as universal as it is personal, as mythic as it is rooted in reality, and as timeless as it is linked to specific events. This book draws on childhood memories, dreams, superstitions, legends, the oral tradition, and the political realities of the Wesleyville community on Bonavista Bay where Blackwood was born and raised.
Black Ice — a comprehensive and sumptuously illustrated retrospective — features over 70 prints spanning 40 years of the artist's work and features essays by Blackwood, Michael Crummey, Sean Cadigan, and the Art Gallery of Ontario's Dr. Katharine Lochnan. It also features essays by scholars based in Canada and Ireland, including an essay on the environment by Dr. Martin Feely, Head of Earth Sciences at the National University of Ireland in Galway (in collaboration with Dr. Derek Wilton, Department of Earth Sciences, Memorial University) and an article on mumming by Caoimhe Ni Shuilleabhain.
Dr. Katharine Lochnan
Dr. Katharine Lochnan is senior curator emeritus at the Art Gallery of Ontario and an adjunct professor at Regis College, Toronto.
David Blackwood is one of Canada's most respected visual storytellers. His work has been exhibited nationally and internationally with over 90 solo shows and scores of group exhibitions. He has been the subject of two major retrospective exhibitions and the National Film Board's Academy-Award nominated documentary film Blackwood. His work may be found in virtually every major public gallery and corporate art collection in Canada, as well as in major private and public collections around the world.
Michael Crummey was born in Buchans, Newfoundland. His debut novel, River Thieves (2001), was nominated for the Giller Prize and won the Winterset Award, the Thomas Head Raddall Atlantic Fiction Award, and the Atlantic Booksellers' Choice Award. He also won acclaim for Flesh and Blood (1998), a book of short fiction. His most recent collection of poetry is Salvage (2002). He lives in St. John's, Newfoundland.
Sean T. Cadigan
Sean T. Cadigan is Head of the Department of History at Memorial University of Newfoundland.
Derek H.C. Wilton
Derek H.C. Wilton is a professor in the Department of Earth Sciences at Memorial University of Newfoundland.
Caoimhe ní Shúilleabháin
Caoimhe ní Shúilleabháin is a translator in the Irish Unit of the Directorate General of Translation at the European Commission.
"This eloquent piece sheds valuable light on those veiled, ghostly figures that haunt so many of Blackwood’s most mysterious works. "
— Christopher Rolfe