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Looking Reality in the Eye
Museums are often stereotyped as dusty storage facilities for ancient artefacts considered important by only a handful of scholars. Recently there has been effort on the part of some museumologists to reconsider the role and responsibilities of museums, art galleries and science centres as integral social institutions in their communities. The book attempts to point the way towards a sustainable future for museums by examining institutions that have found creative ways to attain a socially responsive model for cultural resource management. Accessible and engaging, the articles presented here are an excellent starting point for any discussion on what museums have been and what they should strive to be.
Métis Families: General index
The word métis was originally used to identify children of French Canadian and Indian parents. It is now widely used to describe any of the descendants of Indian and non-Indian parents.
Carl Rungius
Carl Rungius was the first career wildlife artist in North America. He spent his life studying and depicting this continent's wide-open spaces and the creatures that inhabit them. Rungius's paintings present majestic moose, elk, big horn sheep, and mountain goats in idyllic landscapes seemingly untouched by humans. He created the images that often come to mind when we think of "wilderness." During his lifetime (1869-1959), Rungius enjoyed a reputation similar to that of well-known Western painter and sculptor Frederic Remington. Though interest in his work declined following his death, Carl Rungius retains a loyal following among collectors all over North America. Well-known wildlife artists such as Robert Bateman acknowledge his influence and growing fascination with our wilderness heritage is bringing Rungius back into the public eye.
Museums and the Paradox of Change
Museums throughout the world are under increasing pressure in the wake of the 2008/2009 economic recession and the many pressing social and environmental issues that are assuming priority. The major focus of concern in the global museum community is the sustainability of museums in light of these pressures, not to mention falling attendance and the challenges of the digital world. Museums and the Paradox of Change provides a detailed account of how a major Canadian museum suffered a 40 percent loss in its operating budget and went on to become the most financially self-sufficient of the ten largest museums in Canada. This book is the most detailed case study of its kind and is indispensable ...
Kent Monkman
Kent Monkman's new, large-scale project takes the viewer on a journey through Canada's history that starts in the present and takes us back to 150 years before Confederation. With its entry points in the harsh urban environment of Winnipeg's north end, and contemporary life on the reserve, Kent Monkman: Shame and Prejudice, A Story of Resilience takes us all the way back to the period of New France and the fur trade. The Rococo masterpiece The Swing by Jean-Honore ́ Fragonard has been reinterpreted as an installation with Monkman's alter ego, Miss Chief Eagle Testickle, in a beaver trimmed baroque dress, swinging back and forth between the Generals Wolfe and Montcalm. The book includes Monkman's own paintings, drawings and sculptural works, in dialogue with historical artefacts and art works borrowed from museum and private collections from across Canada.
The North-West Is Our Mother
There is a missing chapter in the narrative of Canada’s Indigenous peoples—the story of the Métis Nation, a new Indigenous people descended from both First Nations and Europeans Their story begins in the last decade of the eighteenth century in the Canadian North-West. Within twenty years the Métis proclaimed themselves a nation and won their first battle. Within forty years they were famous throughout North America for their military skills, their nomadic life and their buffalo hunts. The Métis Nation didn’t just drift slowly into the Canadian consciousness in the early 1800s; it burst onto the scene fully formed. The Métis were flamboyant, defiant, loud and definitely not noble s...
Ancestral Portraits
Fred McDonald is a Cree Indian who grew up along the Athabasca River in northern Alberta, and received his MFA at the University of Calgary. His autobiography and community history is presented through an alternation of his paintings, poetry, and narratives. Annotation copyrighted by Book News, Inc., Portland, OR
Greatest Garden
David More is one of western Canada's exceptional painters. Based in the rural hamlet of Benalto, near Red Deer Alberta, he is part of a generation of landscape artists who emerged in the 1970s to make beauty out of the ordinary and challenge the expected with bold acts of creation. Throughout his career, More has returned to the garden as a deeply functional yet ritualistic space of human endeavour. The garden is a place of shelter and sanctuary, of colour and fragrance, of order and wilderness. The garden is a private space, carefully tended and planted, observed en plein air or through the living-room window. The garden is a public space, a park where people gather to let their natures bl...
Museums, Heritage and Indigenous Voice
Current discourse on Indigenous engagement in museum studies is often dominated by curatorial and academic perspectives, in which community voice, viewpoints, and reflections on their collaborations can be under-represented. This book provides a unique look at Indigenous perspectives on museum community engagement and the process of self-representation, specifically how the First Nations Elders of the Blackfoot Confederacy have worked with museums and heritage sites in Alberta, Canada, to represent their own culture and history. Situated in a post-colonial context, the case-study sites are places of contention, a politicized environment that highlights commonly hidden issues and naturalized ...
Made in Calgary
Made in Calgarybegan as a series of five exhibitions developed by Glenbow that presented a survey of the visual arts in Calgary from the 1960s to the 2000s. As we look back on these five decades of Calgary’s artistic heritage, it is clear that the arts in Calgary have diversified as much as the city itself. Through the artwork documented in this publication, made by hundreds of artists who have called Calgary home, one can come to appreciate the larger interconnected story of the visual arts in Calgary, and the many individuals and organizations who have contributed to its creation. Made in Calgaryincludes vivid colour photographs of artwork by more than 200 artists; through these images and the context and commentary provided by the book’s authors, this publication captures the history and vibrancy of Calgary’s visual arts through the eyes and experiences of those who lived it.
