Charles Gagnon

Roald Nasgaard is a teacher, writer, and curator. He is the author of the critically acclaimed book Abstract Painting in Canada (2007). His major exhibitions and accompanying books include The Mystic North: Symbolist Landscape Painting in Northern Europe and North America 1890–1940 (1984); the first Gerhard Richter retrospective in North America (1988); The Automatiste Revolution: Montreal 1941–1960 (2009); and The Plasticiens and Beyond: Montreal 1955–1970 (2014). More recently he co-curated Mystical Landscapes (2016) for the Art Gallery of Ontario and the Musée d’Orsay in Paris and Higher States: Lawren Harris and His American Contemporaries (2017) for the McMichael Canadian Art Collection.Olivier Asselin is a professor of film and media arts at the Université de Montréal. He is the co-editor of several books, including Precarious Visualities (2008), The Electric Age (2011), Menlo Park 3: Machines uchroniques (Université Laval, 2014), Espaces de savoir (2016), and Dispositifs immersifs monumentaux et collectifs (2023). Asselin has also contributed to two retrospective exhibition catalogues of Charles Gagnon’s work, the first in 1998 for the Musée national des beaux-arts du Québec and the second in 2001 for the Musée d’art contemporain de Montréal. He also published a book on Gagnon’s photography with Montreal’s Dazibao art centre in 2006. Asselin has written and directed several films and designed a number of augmented-reality experiences.Michiko Yajima Gagnon was born in Tokyo, Japan, studied in New York, and lives in Montreal and Ayer’s Cliff, Quebec. She was the owner and director of Yajima Galerie, Montreal, from 1974 to 1985, one of the first Canadian commercial galleries to feature contemporary Canadian photographers and artists. She curated the group exhibition Elementae Naturae at the Musée d’art contemporain de Montréal in 1987.Monika Kin Gagnon is a professor of Communication Studies at Concordia University, Montreal. She is the author, editor, and co-editor of numerous essays and books, including Other Conundrums: Race, Culture and Canadian Art (2000), Reimagining Cinema: Film at Expo 67 (2014), and In Search of Expo 67 (2021). In 2010, she assembled the DVD set Charles Gagnon: 4 Films, including his unfinished film R69, named after Yves Gaucher’s painting of the same name. She is a member of the research group Archive/Counter-Archive and is currently completing the book Posthumous Cinema: Unfinished Films in the Archives. She is the daughter of Charles and Michiko Gagnon.

• Introduction / Introduction – Monika Kin GagnonUt Pictura Musica Non Erit: quelques notes sur le son dans la peinture de Charles Gagnon – Olivier AsselinArtworks 1965–1972 / Œuvres 1965-1972A Personal Point of View – Michiko Yajima GagnonArtworks 1975–1999 / Œuvres 1975-1999Charles Gagnon: A Painter of Paradoxes – Roald NasgaardList of Works / Liste des œuvresBiography / BiographieContributors / ContributeursAcknowledgements / Remerciements

"Charles Gagnon is to my mind one of the most important Canadian artists of the 20th century. This elegant and lush publication provides a much-needed account of the innovative and experimental nature at the heart of his practice, and of the rich and diverse artistic paths he travelled.—Lesley Johnstone, former director of exhibitions, Musée d'art contemporain de Montréal"This visual feast of a book is the best account yet of the life and work of Charles Gagnon. A leading 20th-century Canadian artist, Gagnon was a probing painter, photographer, and filmmaker whose singular body of work carries unmistakable metaphysical weight. With family recollections, deeply researched curatorial essays and more than 200 illustrations, we are left with a deep understanding of the man and his art."—Geoffrey James, photographer, Guggenheim fellow, and lifelong friend"Nous étions sérieux, Charles et moi, peut-être un peu solennels, pas sans humour pourtant ; entre nous, le respect de l’intégrité.Nos galeries fréquentent ses œuvres depuis longtemps avec ferveur, un bonheur chaque fois.Sur chaque réalisation, Charles répandait ses propres feux et braises ; le métier est sûr, réfléchi. Ses œuvres se déclinent au présent, toutes périodes confondues, car leur évidence est la joie, leur effet tonique contagieux et fraternel. Ainsi ces repaires-oasis, nés d’un patient regard sur l’éphémère et sa durée, sur le vif de l’art, sa pulsion guérissante. Ce «présent», le cadeau, une œuvre-phare exceptionnelle et généreuse, éclairant les aveuglements et désolations dont notre temps déborde."—Roger Bellemare, Galeries Bellemare/Lambert“Une double actualité — la parution d’une imposante monographie et la tenue d’une succincte, mais éloquente exposition — le célèbre à nouveau."—Le Devoir