Charles Gagnon (The Colour of Time, the Sound of Space)
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Product Details
Author:
Roald Nasgaard, Olivier Asselin, Michiko Yajima Gagnon, Monika Kin Gagnon
Format:
Hardcover
Pages:
224
Publisher:
Figure 1 Publishing (May 6, 2025)
Language:
English
Audience:
General/trade
ISBN-13:
9781773272344
ISBN-10:
1773272349
Dimensions:
9" x 12" x 1"
File:
PGW-LEGATO-Metadata_Only_Publishers_Group_West_Customer_Group_Metadata_20250917130149-20250918.xml
Folder:
PGW
List Price:
$50.00
Country of Origin:
China
Pub Discount:
65
Case Pack:
10
As low as:
$38.50
Publisher Identifier:
P-PER
Discount Code:
A
Imprint:
Figure 1 Publishing
Weight:
56oz
Overview
A personal and intimate perspective on one of Canada's most prominent 20th century multidisciplinary artists, who was once described as "abstraction’s poet-philosopher."
Charles Gagnon (1934–2003) was a painter, photographer and filmmaker considered by many to be an important figure in Quebec and Canadian art in the 20th century.
His early career emerged alongside the American Abstract Expressionists and his growing multidisciplinary practice broke away from the singularity of painting shared by his Montreal contemporaries of the Automatistes and the Plasticiens. The complexity and depth of his work as a painter, photographer, and filmmaker was distinguished by a probing, introspective quality. His paintings were simultaneously rigid and free-flowing, with self-imposed rules and structure contrasted by rich fracture and gestural brush work. Across all disciplines he played with multiple levels of perception, and many works evoke the liminal space of the threshold, or multi-plane spaces.
In Charles Gagnon: The Colour of Time, the Sound of Space, this long-standing multidisciplinary work is brought into full view with texts that explore Gagnon’s various practices, from painting to photography to film. An English-language essay by art historian and curator Roald Nasgaard chronicles Gagnon’s artistic evolution from his early years in New York in the 1950s to his final productive years in the late 1990s in Quebec, and situates him within an expanded international historical context of artists, artworks, and art movements. Filmmaker and professor Olivier Asselin’s French-language essay engages Gagnon’s use of different media, including the role of sound and music in his artworks. Michiko Yajima Gagnon, the wife of the late artist, gives insight into the inseparability of everyday life and Charles’s creative undertakings: his friendships with other artists (Tōru Takemitsu, Lee Friedlander), travel (to New York, Japan, and, particularly, the American Southwest), and the relationship between the landscapes surrounding his studios and his artwork.
Featuring more than 250 art reproductions and archival images, Charles Gagnon is an intimate portrait of an artist and the celebration of a life’s work.
Charles Gagnon (1934–2003) was a painter, photographer and filmmaker considered by many to be an important figure in Quebec and Canadian art in the 20th century.
His early career emerged alongside the American Abstract Expressionists and his growing multidisciplinary practice broke away from the singularity of painting shared by his Montreal contemporaries of the Automatistes and the Plasticiens. The complexity and depth of his work as a painter, photographer, and filmmaker was distinguished by a probing, introspective quality. His paintings were simultaneously rigid and free-flowing, with self-imposed rules and structure contrasted by rich fracture and gestural brush work. Across all disciplines he played with multiple levels of perception, and many works evoke the liminal space of the threshold, or multi-plane spaces.
In Charles Gagnon: The Colour of Time, the Sound of Space, this long-standing multidisciplinary work is brought into full view with texts that explore Gagnon’s various practices, from painting to photography to film. An English-language essay by art historian and curator Roald Nasgaard chronicles Gagnon’s artistic evolution from his early years in New York in the 1950s to his final productive years in the late 1990s in Quebec, and situates him within an expanded international historical context of artists, artworks, and art movements. Filmmaker and professor Olivier Asselin’s French-language essay engages Gagnon’s use of different media, including the role of sound and music in his artworks. Michiko Yajima Gagnon, the wife of the late artist, gives insight into the inseparability of everyday life and Charles’s creative undertakings: his friendships with other artists (Tōru Takemitsu, Lee Friedlander), travel (to New York, Japan, and, particularly, the American Southwest), and the relationship between the landscapes surrounding his studios and his artwork.
Featuring more than 250 art reproductions and archival images, Charles Gagnon is an intimate portrait of an artist and the celebration of a life’s work.
