Ray Cronin
Author
Ray Cronin is a writer, curator, and arts consultant living in Elmsdale, Nova Scotia. He worked at the Art Gallery of Nova Scotia as curator (2001–07) and as director and CEO (2007–15). He is the founding curator of the Sobey Art Award.
Cronin is a graduate of the Nova Scotia College of Art and Design (BA, fine arts) and the University of Windsor (MA, fine arts). He is the author of numerous catalogue essays and has published reviews and articles for several Canadian and American art magazines over a twenty-five-year career. In 2000 he received the Christina Sabat Award for Critical Review in the Arts. He was the visual arts columnist for the Daily Gleaner (Fredericton) and Here (Saint John) in New Brunswick and is the visual arts blogger for Halifax Magazine.
Cronin is the author of Marion Wagschal (Battat Contemporary, 2010) and has contributed essays to books on Mary Pratt, John Greer, David Askevold, Graeme Patterson, Colleen Wolstenholme, and Garry Neill Kennedy, among others. His book Our Maud: The Life, Art and Legacy of Maud Lewis was published by the Art Gallery of Nova Scotia in 2017, and Mary Pratt: Still Light by Gaspereau Press in 2018. Further titles in his book series, the Gaspereau Field Guides to Canadian Artists, are forthcoming.
Online Art Books
Halifax
Art & Artists
Quos necessitatibus facere laboriosam neque ea perspiciatis repellendus id
By Ray Cronin
Walter
Allward
Sequi facere ipsum reiciendis autem non quidem maxime quis dolore facilis
By Philip Dombowsky
Pitseolak
Ashoona
Eius quo vero minima corporis suscipit quod ipsum mollitia vel illum
By Christine Boyanoski
Carl
Beam
Possimus nisi veritatis rem corrupti explicabo, commodi tenetur quidem aspernatur nostrum
By Anong Migwans Beam
Molly Lamb
Bobak
Lorem ipsum dolor sit amet, consectetur adipisicing elit
By Michelle Gewurtz
Shuvinai
Ashoona
Halifax
Art & Artists
Quos necessitatibus facere laboriosam neque ea perspiciatis repellendus id
By Ray CroninWalter
Allward
Sequi facere ipsum reiciendis autem non quidem maxime quis dolore facilis
By Philip DombowskyPitseolak
Ashoona
Eius quo vero minima corporis suscipit quod ipsum mollitia vel illum
By Christine BoyanoskiCarl
Beam
Possimus nisi veritatis rem corrupti explicabo, commodi tenetur quidem aspernatur nostrum
By Anong Migwans BeamMolly Lamb
Bobak
Lorem ipsum dolor sit amet, consectetur adipisicing elit
By Michelle GewurtzShuvinai
Ashoona
Print Books
Articles & Contributions
William Brymner declared this work to be his magnum opus
By Lorem Ipsum
William Brymner declared this work to be his magnum opus
By Lorem Ipsum
William Brymner declared this work to be his magnum opus
By Lorem IpsumWilliam Brymner declared this work to be his magnum opus
By Lorem IpsumWilliam Brymner declared this work to be his magnum opus
By Lorem IpsumWilliam Brymner declared this work to be his magnum opus
By Lorem IpsumVideos
Boyle and Perera reflect on their experiences of navigating cultural distinctions within their collaborative relationships with institutions and other artists.
Monkman addresses how the ACI’s publication Revision and Resistance is the only book to offer the behind-the-scenes story of mistikôsiwak (Wooden Boat People), two genre-defying paintings that have changed the conversation about art history.
Founder and Executive Director Sara Angel talks to CBC News about the launch of the Art Canada Institute on November 28, 2013. Her vision was simple: make Canadian art history accessible to twenty-first century audiences by creating a multi-vocal, bilingual, comprehensive web resource on the country’s visual culture.
When it comes to folk art in Canada, there’s before Maud Lewis (1901–1970)—and after. Celebrating the release of Maud Lewis: Life & Work by Ray Cronin, the panelists will discuss her legacy and pay tribute to the cheerful works that testify to her indomitable spirit.
Today many public monuments are controversial, but in the early twentieth century they were objects to behold—none more so than Canada’s Vimy Memorial in France, a destination for over 700,000 visitors each year. This talk will address the iconic structure, its construction, and the role of commemorative statues in art history.
This interview will reveal when and why Audain began buying art and how he became one of Canadian art’s most devoted patrons and instrumental in preserving and promoting our country’s cultural heritage.
This interview will reveal when and why Audain began buying art and how he became one of Canadian art’s most devoted patrons and instrumental in preserving and promoting our country’s cultural heritage.
In this talk the Saulteaux artist and curator speaks about how, through his art, he has created a renewed vision of the world that includes the restoration of cultural memory, challenges to the government on political issues affecting Indigenous peoples, and the decolonization of the museum and the self.
Boyle and Perera reflect on their experiences of navigating cultural distinctions within their collaborative relationships with institutions and other artists.
Monkman addresses how the ACI’s publication Revision and Resistance is the only book to offer the behind-the-scenes story of mistikôsiwak (Wooden Boat People), two genre-defying paintings that have changed the conversation about art history.
Founder and Executive Director Sara Angel talks to CBC News about the launch of the Art Canada Institute on November 28, 2013. Her vision was simple: make Canadian art history accessible to twenty-first century audiences by creating a multi-vocal, bilingual, comprehensive web resource on the country’s visual culture.
When it comes to folk art in Canada, there’s before Maud Lewis (1901–1970)—and after. Celebrating the release of Maud Lewis: Life & Work by Ray Cronin, the panelists will discuss her legacy and pay tribute to the cheerful works that testify to her indomitable spirit.
Today many public monuments are controversial, but in the early twentieth century they were objects to behold—none more so than Canada’s Vimy Memorial in France, a destination for over 700,000 visitors each year. This talk will address the iconic structure, its construction, and the role of commemorative statues in art history.
This interview will reveal when and why Audain began buying art and how he became one of Canadian art’s most devoted patrons and instrumental in preserving and promoting our country’s cultural heritage.
This interview will reveal when and why Audain began buying art and how he became one of Canadian art’s most devoted patrons and instrumental in preserving and promoting our country’s cultural heritage.
In this talk the Saulteaux artist and curator speaks about how, through his art, he has created a renewed vision of the world that includes the restoration of cultural memory, challenges to the government on political issues affecting Indigenous peoples, and the decolonization of the museum and the self.