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This book, published to accompany the exhibition of the same title, explores Jean-Paul Riopelle's interest in northern Canada and his works devoted to this theme. It highlights in particular the wonderful series of paintings he made in the 1970s, including both the works themselves and archival materials that delve into this period when Riopelle was especially energetic. It was a time when he organised a number of trips to the region to fish, hunt, and immerse himself in nature, seeking t...

LIBRE: DHC/ART tells the story of a contemporary art foundation unlike any other in Canada. Situated in the cosmopolitan city of Montreal, DHC/ART is dedicated to bringing impactful experiences with contemporary art to the public with a mission of accessibility on multiple levels. Since its launch in 2007 by Phoebe Greenberg, the foundation has presented a critically acclaimed programme with major artists from around the world, including Christian Marclay, Joan Jonas and Yinka Shonibare MBE. In...

Before the First World War, Winnipeg was Canada's third-largest city and the undisputed metropolis of the West. Rapid growth had given the city material prosperity, but little of its wealth went to culture or the arts. Despite the city's fragile cultural veneer, the enthusiasm and dedication of members of the arts community and a group of public-spirited citizens led to the establishment of the Winnipeg Art Gallery in 1912 and the Winnipeg School of Art in 1913. This volume is a history in word...

Crafting New Traditions brings together the work of eleven historians and craftspeople to address the two questions of "who has influenced the recent history of Canadian studio craft?" and "who will be considered as the 'pioneers' of Canadian craft in the future?" This book examines those innovators who have influenced five craft fields: ceramics, glass, metal, textiles and wood. Crafting New Traditions also includes five essays that look at recent leading-edge activity in the crafts.

How do you begin to write an art history and what are the vital questions to ask? Which marks are most prominent in the visual culture of a particular place, and which are nearly invisible?In Future Possible (a riff on an Andy Jones monologue about how Newfoundlanders talk about their future, an attitude which he describes as "Future possible, possibly horrible"), Mireille Eagan and writers and artists such as Heather Igloliorte, Lisa Moore, Andy Jones, and Craig Francis Power navigate the tangl...

The long-awaited history of the art college that became an unlikely epicenter of the art world in the 1960s and 1970s. How did a small art college in Nova Scotia become the epicenter of art education—and to a large extent of the postmimimalist and conceptual art world itself—in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and...

The first comprehensive look at a leading figure in Canadian modernism and the many facets of his artistic creativity. Bertram Brooker (1888–1955), an associate of the Group of Seven, was a multi-disciplinary artist who was deeply engaged with the visual, literary and performing arts in Canada during the dynamic inter-war period. This was a time of dramatic change in Canadian cultural life, and Brooker was one of the artistic community’s most gifted first responders. In 1927 he burst onto the...

This unique study explores how Quebec's landscapes have been represented in both literature and visual art throughout the centuries, from the writing of early explorers such as Cartier and Champlain to work by prominent contemporary authors and artists from the province. William J. Berg traces recurrent images and themes within these creations through the most significant periods in the development of a Quebecois identity that was threatened initially by the wilderness and indigenous populations...

Winner, Canadian Museums Association Outstanding Achievement in Publication and Melva J. Dwyer Award Iain Baxter legally changed his name to IAIN BAXTER& in 2005. He appended an ampersand to his name to underscore that art is about connectivity — about contingency and collaboration with a viewer. He also effected the name change to perpetuate a strategy of self re-definition that is central to his creative project. BAXTER& began making art in the late-1950s under his birth name but quickly real...