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Mandated to foster a sense of national cohesion The National Film Board of Canada's Still Photography Division was the country's official photographer during the mid-twentieth century. Like the Farm Security Administration and other agencies in the US, the NFB used photographs to serve the nation. Division photographers shot everything from official state functions to images of the routine events of daily life, producing some of the most dynamic photographs of the time, seen by millions of Canadians - and international audiences - in newspapers, magazines, exhibitions, and filmstrips. In The Official Picture, Carol Payne argues that the Still Photography Division played a significant role in Canadian nation-building during WWII and the two decades that followed. Payne examines key images, themes, and periods in the Division's history - including the depiction of women munitions workers, landscape photography in the 1950s and 60s, and portraits of Canadians during the Centennial in 1967 - to demonstrate how abstract concepts of nationhood and citizenship, as well as attitudes toward gender, class, linguistic identity, and conceptions of race were reproduced in photographs. The Official Picture looks closely at the work of many Division photographers from staff members Chris Lund and Gar Lunney during the 1940s and 1950s to the expressive documentary photography of Michel Lambeth, Michael Semak, and Pierre Gaudard, in the 1960s and after. The Division also produced a substantial body of Northern imagery documenting Inuit and Native peoples. Payne details how Inuit groups have turned to the archive in recent years in an effort to reaffirm their own cultural identity. For decades, the Still Photography Division served as the country's image bank, producing a government-endorsed \"official picture\" of Canada. A rich archival study, The Official Picture brings the hisotry of the Division, long overshadowed by the Board's cinematic divisions, to light.

The most important Russian artistic movement of the end of the twentieth century, Moscow conceptualism has been described as sectarian, esoteric, and self-absorbed, with an affinity for substituting longwinded commentaries for visual images. Such definitions, while compelling for some participants in the movement, fail to describe adequately the work of a number of unofficial Moscow artists from the late Soviet period, particularly the so-called second generation of conceptualists. This is partly the result of a critical tendency to misconstrue the role words actually play in the work of second-generation artists and to conflate their use of painted text with that of other Moscow conceptualists. Closer attention to the kinds of texts these artists include in their pictorial creation and their intent in doing so suggests that they represent a significant but understudied development in this still misunderstood group.

Hitlerwelle, Führerboom, Hitlernostalgie in the German language; in Hebrew there is the famous La'Hit-Ler (Hitler-Schlager) coined by Israeli poet David Avidan, or what Professor Moshe Zuckermann has just recently called Hitleriada (a combination between Hitler and Olympiad):1 all phrases share the wish to describe the great interest that people often (re-)find in the figure of the Nazi Führer. And this interest usually emerges in waves. During the 1990s, Israeli art showed an obsessive preoccupation with the figure of Hitler that lasted around a decade and is considered to be a turning point with respect to the ways the Holocaust is represented among Israeli-Jewish artists. By focusing on the work of Israeli artist Boaz Arad, Marcel Marcel (2000), which ended this decade, in comparison to the work of German artist Rudolf Herz, ZUGZWANG (1995), this essay wishes to re-think the recruiting of the image of Hitler in Israeli art, in order to introduce the advantages of transnationalism and a comparative approach to the local art discourse with respect to Holocaust related imagery.

In the mid-50s, Robert Frank embarked on a ten-thousand-mile road trip across post-war America, capturing thousands of photographs that resulted in The Americans, which represents a seminal moment in both photography and in America's emerging understanding of itself. Jonathan Day revisits this work and contributes a thoughtful critical commentary.

McLachlan, Phyllis Rothlauf, Kay Weiss and Mary Talbott researched the series of articles in which Garrett looks back 50 years, naming the settlers, discussing where they lived, their business or occupation, their origins, and who left for other states or territories. The center is looking for adult volunteers to share their passion for history by being a leader at these workshops to demonstrate their collections, forgotten crafts or skills, research or hobbies that bring the past to life.