Collections Detail – MAC Montréal

Nadia Myre, Contact: When Odd Gets Even, © Nadia Myre. (Licence émise par Droits d’auteur Arts visuels - CARCC, 2023) • Photo: Richard-Max Tremblay

Artist: Nadia Myre
Title: Contact: When Odd Gets Even
Dimensions and medium: Seed beads, thread, and canvas, 35.5 × 35.5 cm
Origin: Gift of Collection Loto-Québec, acquired in partnership with the Musée d’art contemporain de Montréal

See Also

Tarpaulin No. 2, 1974-1975, Gesso and crayon on tarpaulin, rope, metal wire, grommets, and steel tube. — Betty Goodwin, Tarpaulin No. 2, 1974-1975 Tarpaulin No. 2, 1974-1975, Gesso and crayon on tarpaulin, rope, metal wire, grommets, and steel tube.

Revisited Vocabulary Lesson, 1991, Oil on canvas cut and mounted on chiselled foamboard. — Larry Rivers, Revisited Vocabulary Lesson, 1991 Revisited Vocabulary Lesson, 1991, Oil on canvas cut and mounted on chiselled foamboard.

Sans titre, 1982, Various materials and found objects. — Jannis Kounellis, Sans titre, 1982 Sans titre, 1982, Various materials and found objects.

Cold Heaven, 1983-1984, Gold leaf on plywood and black and white framed photograph. — Robert Longo, Cold Heaven, 1983-1984 Cold Heaven, 1983-1984, Gold leaf on plywood and black and white framed photograph.

Untitled, 1985, Oil, encaustic, and wood on canvas. — Mimmo Paladino, Untitled, 1985 Untitled, 1985, Oil, encaustic, and wood on canvas.

n° 178 - Registre n° 2, inscription de choses et de lieux, 1989, Acrylic on plywood. — Guy Pellerin, n° 178 - Registre n° 2, inscription de choses et de lieux, 1989 n° 178 - Registre n° 2, inscription de choses et de lieux, 1989, Acrylic on plywood.

Violator, 2015, Wool, plastic, polymerized gypsum, cellophane, and stickers. — Liz Magor, Violator, 2015 Violator, 2015, Wool, plastic, polymerized gypsum, cellophane, and stickers.

Eclipsing the Past, Present and Future, 2008, Ink on reflective material and Shoji paper. — Ed Pien, Eclipsing the Past, Present and Future, 2008 Eclipsing the Past, Present and Future, 2008, Ink on reflective material and Shoji paper.

Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994), 1979-1994, 3295 acrylic coats on an alarm clock. — Eric Cameron, Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994), 1979-1994 Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994), 1979-1994, 3295 acrylic coats on an alarm clock.

Box #4, 1962, Collage of various materials. — Charles Gagnon, Boîte n° 4, 1962 Box #4, 1962, Collage of various materials.

Affections, 1993, Various materials. — Serge Murphy, Affections, 1993 Affections, 1993, Various materials.

Carton II, 2006, Polymerized gypsum, cigarettes, cigars, chewing gums, cigarrette packs,and matches, 1/2. — Liz Magor, Carton II, 2006 Carton II, 2006, Polymerized gypsum, cigarettes, cigars, chewing gums, cigarrette packs,and matches, 1/2.

Ciboulette, 1968, Light panel (neon tubes). — Jacques Hurtubise, Ciboulette, 1968 Ciboulette, 1968, Light panel (neon tubes).

The Density of Notion, 1986, Iron, ashes, metal wire, and egg tempera on cardboard, 2 elements. — Pieter Laurens Mol, The Density of Notion, 1986 The Density of Notion, 1986, Iron, ashes, metal wire, and egg tempera on cardboard, 2 elements.

Implications of White, 1984-1985, Oil, plaster, metal, cement, and wax on wood. — Louis Comtois, Implications of White, 1984-1985 Implications of White, 1984-1985, Oil, plaster, metal, cement, and wax on wood.

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