Speculative fictions: The photomontages of Graham Metson, 1955-95

Campbell, James D.

Carleton University Art Gallery

Sylvia Safdie

Centre Saidye Bronfman

<p>"How can a politically disabled nation create a history for itself?" James Campbell sets out across Scotland to answer his own question. From the bustle of the Edinburgh Festival and the sleaziness of "Sin City" Aberdeen to the depopulated Highlands ("the last great European wilderness"), a history of thoughts, fears, and aspirations evolves from his conversations with the local inhabitants. The "Invisible Country" is seen in different ways by the people he meets: in the "Big Idea" of Scottish Independence, the romanticism of the English lairds, the money-spinning talk of the oil troubleshooters, and the grim resentfulness of the South Western-Islanders. In many ways the book is a disturbing account of a country which was described by Edwin Muir as "becoming lost to history." But Campbell's observations, always thoughtful and pertinent, reveal not only the despair but also the humor and strength at the heart of a Scotland which, though very real, cannot always be seen.</p>

Invisible Country: A Journey Through Scotland

History

Europe

New Amsterdam Books

The mirror, method and meaning in monochrome: Jean-Marie Delavalle

Christopher Cutts

Working within the traditions of modernist painting, the senior Canadian painter employs the language of abstraction. Using fluid acrylics and pencil on Mylar and birch panel, she relies on an improvisational playing out of materials and ideas to arrive at a poetic distillation of thought and sensation. This rare monograph on her work contains an original essay.

Frances Thomas: But Wait

Arts & Photography

History & Criticism

Maclaren Art Centre

Mirana Zuger paints exuberant abstractions that are remarkable for their cohesiveness and incessant internal flux. They bridge Lascaux cave walls and the restless paintings of Lee Krasner, Barthes's sign fever and Banksy's feverish graffiti. A dictionary of marks is used to create a personal iconography. These gestures are derivative of light, time, gravity and movement. The accumulation of marks is part of a natural system, free from external intent. The inner logic of the composition describes a corner of an infinite ecosystem, mimetic of the limitless resolution of nature. In her text, iconic artist Francoise Sullivan muses on the ongoing vitality of modernist abstraction. First monograph dedicated to the work of the young Canadian artist.

Mirana Zuger: Vrtlar (French and English Edition)

Sullivan, Francoise

McClure Gallery

'The Army Isn't All Work': Physical Culture and the Evolution of the British Army, 1860–1920

Between the Crimean War and the end of the First World War the British Army underwent a dramatic change from being an anachronistic and frequently ineffective organization to being perhaps the most professional and highly trained army in the world. Historians have tended to view that transformation through the successive political reform efforts of those years, but have largely overlooked the ways in which the Army transformed itself from within. This change was effected through the modernization of training, operational and leadership doctrines. The adoption of formal physical training and organized games played a central part in this process. With its origins in elite public schools and upper-class country homes, the Army's philosophy of Athleticism was a part of the ethos of 'muscular Christianity' widely held in contemporary British institutions. Under the potent influence of this philosophy, military sport went from a means of keeping soldiers from drink and the officers from duty, to an institutionalized form of combat training. This book documents the origins and development of formal physical training in the late Victorian Army and the ways in which the Army's gymnastic training evolved into a vital building block of the process of turning a civilian into a fighting man. It also assesses the nature and extent of British military sport, particularly regimental sports, during this period of evolution for the Army. Through an investigation of the Army's physical culture during this dynamic period, one can gain an understanding of not only how the Army's change from within occurred, but also of some of the important links between the Army and its parent society.

Routledge

Prior to World War Ii, the Army had a deeply ingrained facility with and acceptance of what we now term unconventional warfare-raising, training, advising, and cooperating with tribal militias, local paramilitaries, and other nonstate armed groups. This culture of irregular warfare was attributable to nearly 300 years of American military tradition from the colonial period until 1941, including extensive experience in cooperating with Native American tribes and individual scouts during the expansion of the western frontier. These traditions of unconventional war reached maturity in the years of fighting on the western plains after the Civil War, and were given ultimate expression in the creation of the Philippine Scouts at the beginning of the 20th century. Since World War Ii, the wider military has lost this expertise in and comfortable familiarity with unconventional operations, with the Special Operations community taking on the sole proprietorship of this role.

“Making Riflemen From Mud”: Restoring The Army’s Culture Of Irregular Warfare

Education & Teaching

Institute, Strategic Studies

Schools & Teaching

lulu.com

'The Army Isn't All Work': Physical Culture and the Evolution of the British Army, 1860-1920

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Books by Campbell, James D.