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''This final volume of the Parachute anthology gather together essays dealing with the so-called ''academic media.'' Painting, sculpture, installation, and architecture are debated from several perspectives : from new theories of aesthetic production to the expansion of the art worl, from the ''lessons'' of postmodernism to the definition and exhibition challenges causes by the proliferation of installation art. Essays discuss artists such as Mona Hatoum, Guillermo Kuica, Louise Lawler, Reinhard Mucha, Robert Ryman, Michael Snow, and include Dan Graham on Gordon Matta-Clark and Jeff Wall on Edouard Manet.''-- p. [4] of cover.

In these proceedings from a conference held in Montreal in 2000, 14 specialists on the nature/culture report use conceptual tools to “cultivate” the theme of the garden. All of the authors stress the importance of gardens to our understanding of the world and contemporary visual culture. Certain authors consider the garden in terms of ecology and the environment, or its pictorial and literary aspects; some present a historical or theoretical perspective; and others consider its critical potential in an urban context. The garden becomes the new paradigm for cultural studies. Most texts in French, four in English. Brief biographical notes. 206 bibl. ref.

With the aid of Colville's preliminary sketches, notes, and polaroids, Fry analyses "Embarkation" (1994), referencing other paintings and serigraphs and providing insights into the artist's personal life.

Introducing a retrospective exhibition of Colville's recent work, Fry analyses 22 paintings and 10 serigraphs, along with their preparatory sketches. The author provides a detailed formal and interpretive reading of two earlier works held in the Museum's permanent collection. Biographical notes. Bibl. 1 p.

In a detailed analysis of installations, public sculptures, and related drawings made by Gould between 1985 and 1993, Fry considers their formal structure, imagery (centred upon Africa) and significance (involving such issues as the notion of home, colonization, power, and violence). Cummins investigates the political preoccupations that inform Gould's work. Biographical notes. Bibl. 4 p.

Four authors analyze problems of representation and the context of the dissemination of contemporary art in Ottawa. Babinska discusses institutional recognition of Ottawa-Hull artists since 1975; Fry explains the constraints of regional identity and Musiol, the limitations of public galleries. In his epilogue, Tourbin comments on memory and belonging. Artist's statements. Biographical notes. 4 bibl. ref.

Arguing for an open reading of the works and describing four Ontario artists' work, Fry elaborates on their use of materials, processes, and meanings in relation to painting and sculpture. Statement by Koh and McKay. Biographical notes.

The following three tasks are included in Volume I. Gaussian noise added to true range generated by various kinds of simulated trajectories served as 'measurements' which were input to several kinds of Kalman filters. Filter output is compared graphically and by rms deviations. Independent methods were devised for evaluating the accuracy of target state vectors (position, velocity, and acceleration) obtained from a director fire control system. Attempts to find an adequate software correction to the radar lag were not successful. Analysis of data on Sight Eval tapes casts doubt on its validity., See also Volume 2, ADA051886.

Analytical models applicable to hydrodynamic ram studies are reviewed. These include Stepka and Morse's observations of shock formation, Yurkovich's analysis of the shock, and Lundstrom's analysis of the fluid drag pressures. Several approaches to the wall analysis are also reviewed; these include Chou's use of the method of characteristics, and Ball's adaptation of piston theory. Finally, damage reduction methods are also discussed. (Author)

Fry analyses the processes and techniques used by Saxe to create his metal sculptures. 7 bibl. ref.

In a reprinted text, Fry considers the connections between Collyer's sculptural works and the tenets of Minimalism and Formalism. Biographical notes. 4 bibl. ref.

For this retrospective exhibition, Fry's extensive essay demonstrates the priority of experience over expression in Gagnon's work while Thériault documents the historical context. Biographical notes. Bibl. 2 p.

The authors discuss the silkscreen process, the history of the Grand Western Canadian Screen Shop, the Winnipeg Art Gallery's exhibition policy objectives, and the origins of the exhibition. Biographical notes.

Fry identifies recurring iconographic elements in Cousineau's paintings and photographs and demonstrates how this work functions as an index by pointing to procedures of appropriation and expression.

The authors discuss Steranko's comics referring to his development of techniques related to the narrative devices of film. 27 bibl. ref.

Critically annotated catalogue entries describe in detail Collyer's installations produced between 1969 and 1981. Fry focuses on the artist's use of objects and text to demonstrate how Collyer's work has evolved from formalist Minimalism to its critique through the use of semantic structures. Biographical notes. 39 bibl. ref.

Bradley briefly describes the development of the exhibition and diagnoses a plurality of artistic approaches. The works and concerns of 19 Canadian artists are commented upon. Biographical notes. Circa 170 bibl. ref.

The complexities of a techno-urban environment provide the impetus for the discussions between critic Fry and artist Parsons. Biographical notes. 1 bibl. ref.

Fry and Poulos briefly survey the history of quilts and ceramics, illustrating various techiques with examples from the exhibition.

Fry surveys the history of the silkscreen process and explains its technical aspects. Biographical notes.

Fry describes the objectives of The Ophthalmia Company, an artists' collective whose members adopt the farmers' relationship to the prairies as a model for their large-scale work.

Fry defines the concepts of regionalism, people's art, and fine art and confronts them to works by 69 Manitoba artists.

This selection of 25 essays reveals the changing tenor of writing on art in Canada in the 1980s, reflecting the influence of feminism and an interrogation of the institutional structure of art. Among the issues adressed are: notions of identity and history; the relationship between the work of art, the artist, and the institution; the position of the critic and the development of a critical voice. Brief biographical notes on contributors. Subject index. Circa 500 bibl. ref.