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Desire change : contemporary feminist art in Canada
In the resistance to the violence of gender-based oppression, vibrant - but often ignored - worlds have emerged, full of nuance, humour, and beauty. Correcting a glaring omission of writing about contemporary feminist work by Canadian artists, Desire Change considers the resurgence of feminist art, thought, and practice in the past decade by examining artworks that respond to themes of diversity and desire. Essays by historians, artists, and curators present an overview of a range of artistic practices including performance, installation, video, textiles, and photography. Contributors address the desire for change through three central frames: how feminist art has significantly contributed to the complex understanding of gender as it intersects with sexuality and race; the necessary critique of patriarchy and institutions as they relate to colonization within the Canadian national-state; and the ways in which contemporary critiques are formed and expressed. The resulting collection addresses art through an activist lens to examine intersectional feminism, decolonization, and feminist institution building in a Canadian context. Heavily illustrated with representative works, Desire Change raises both the stakes and the concerns of contemporary feminist art, with an understanding that feminism is always and necessarily plural.-- Provided by publisher.
Book
Resistant Practices in Communities of Sound
Print – and by extension, visuality – has historically dominated the literary, artistic, and academic spheres in Canada; however, scholars and artists have become increasingly attuned to the creative and scholarly opportunities offered by paying attention to sound.
Resistant Practices in Communities of Sound turns to a particular opportunity, interrogating the ways that sonic practices act as forms of aesthetic and political dissent. Chapters explore, on the one hand, critical methods of engaging with sound – particularly bodies of literary and artistic work in their specific materiality as read, recited, performed, mediated, archived, and remixed objects; on the other hand, they also engage with creative practices that mobilize sound as a political aesthetic, taking on questions of identity, racialization, ability, mobility, and surveillance. Divided into nine pairings that bring together works originating in oral/aural forms with works originating in writing, the book explores the creative and critical output of leading sonic practitioners. It showcases diverse approaches to the equally complex formations of sound, resistance, and community, bridging the too-often separate worlds of the practical and the academic in generative, resonant dialogue.
Combining the oral and the written, the creative and the critical, and the mediated and the live, Resistant Practices in Communities of Sound asks us to attune ourselves as listeners as well as readers.
eBook
I'm not myself at all : women, art, and subjectivity in Canada
\"Notions of identity have long structured women's art. Dynamics of race, class, and gender have shaped the production of artworks and oriented their subsequent reassessments. Arguably, this is especially true of art by women, and of the socially engaged criticism that addresses it. If identity has been a problem in women's art, however, is more identity the solution? In this collection of interpretive essays on nineteenth and early twentieth-century art in Canada, author Kristina Huneault offers a meditation on the strictures of identity, and an exploration of forces that unsettle and realign the self. Looking closely at individual artists and works, Huneault combines formal analysis with archival research and philosophical inquiry, building nuanced readings of objects that range from the canonical to the largely unknown. Whether in miniature portraits or genre paintings, botanical drawings or baskets, women artists reckoned with constraints that limited understandings of themselves and others. They also forged creative alternatives. At times, the author explains, identity features in women's artistic work as a failed project, at other times it marks a boundary, beyond which they were able to expand, explore, and exult. Bringing together settler and indigenous forms of cultural expression and foregrounding the importance of colonialism within the development of art in Canada, I'm not myself at all observes and reactivates historical art by women and prompts readers to consider what a less-restrictive conceptualization of selfhood might bring to current patterns of cultural analysis.\"-- Provided by publisher.
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First Peoples of Canada
This beautifully designed, full-colour book presents a collection of 150 archaeological and ethnographic objects produced by Canada's First Peoples - including some that are roughly 12,000 years old - that represent spectacular expressions of creativity and ingenuity.
eBook
Drawn from Life
An illustrated archeology of the imagination that reveals how artists and writers from the late 16th to the early 19th century, most of whom had never seen North America, portrayed the natural history and landscape of North America to European readers.
eBook
Robert Bateman : the boy who painted nature
The story of a young boy who has a gift for seeing and painting the natural world around him.
Book
Coded Territories
This collection of essays provides a historical and contemporary context for Indigenous new media arts practice in Canada. The writers are established artists, scholars, and curators who cover thematic concepts and underlying approaches to new media from a distinctly Indigenous perspective. Through discourse and narrative analysis, the writers discuss a number of topics ranging from how Indigenous worldviews inform unique approaches to new media arts practice to their own work and specific contemporary works. Contributors include: Archer Pechawis, Jackson 2Bears, Jason Edward Lewis, Steven Foster, Candice Hopkins, and Cheryl L'Hirondelle.
eBook
Life sketches
\"Full of never-before-seen illustrations, Life Sketches is an inspiring and elegant portrait of Robert Bateman's life as an artist and of his belief that \"Nature is an infinite source of reason, imagination, and invention.\" From one of Canada's most beloved painters comes an intimate, visually stunning memoir of the artist at work. Internationally acclaimed artist Robert Bateman has brought the natural world to vivid life with his unique perspective. His vast body of work--spanning species as large as the buffalo and as small as the mouse--has touched millions of hearts and minds, awakening a reverence for wildlife of all kinds. Bateman is perhaps best known for his gorgeous depictions of birds in flight and in repose, images that stir in the viewer a deep appreciation of colour, form and spirit. Life Sketches is a moving journey in both words and images that, for the first time, allows Bateman's fans full access into his creative process, detailing his singular artistic vision and the inspiration behind is iconic art. What emerges is a portrait of a young boy enchanted by the natural world around him and called to record it in his sketches and paintings. Bitten by wanderlust, Bateman travelled the world and documented his real life experiences in journals, sketches, and paintings. In Life Sketches, he recounts the evolution of his style from abstraction to realism and the events that have shaped his art into a vocation over many decades. And through it all, Bateman shows how his keen sensibilities extend beyond art, to a passion for conservation and relentless advocacy for the natural world that underpins an incredible artistic legacy.\"-- Provided by publisher.
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Indians Playing Indian
Contemporary indigenous peoples in North America confront a unique predicament. While they are reclaiming their historic status as sovereign nations, mainstream popular culture continues to depict them as cultural minorities similar to other ethnic Americans. These depictions of indigenous peoples as “ Native Americans” complete the broader narrative of America as a refuge to the world’ s immigrants and a home to contemporary multicultural democracies, such as the United States and Canada. But they fundamentally misrepresent indigenous peoples, whose American history has been not of immigration but of colonization.
Monika Siebert’ s Indians Playing Indian first identifies this phenomenon as multicultural misrecognition, explains its sources in North American colonial history and in the political mandates of multiculturalism, and describes its consequences for contemporary indigenous cultural production. It then explores the responses of indigenous artists who take advantage of the ongoing popular interest in Native American culture and art while offering narratives of the political histories of their nations in order to resist multicultural incorporation.
Each chapter of Indians Playing Indian showcases a different medium of contemporary indigenous art— museum exhibition, cinema, digital fine art, sculpture, multimedia installation, and literary fiction— and explores specific rhetorical strategies artists deploy to forestall multicultural misrecognition and recover political meanings of indigeneity. The sites and artists discussed include the National Museum of the American Indian in Washington, DC; filmmakers at Inuit Isuma Productions; digital artists/photographers Dugan Aguilar, Pamela Shields, and Hulleah Tsinhnahjinnie; sculptor Jimmie Durham; and novelist LeAnne Howe.
eBook