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Jill, Baird
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Safar Voyage
Safar/Voyage features a selection of recent artwork by artists from Iran, Turkey and a range of Arab countries. The text -- illustrated with more than fifty colour photographs, archival images and a map of the region -- explores themes of migration, dislocation, and changing identity and addresses the impact of war and revolution on individuals, communities and culture in this highly contested region of the world. Echoing the title, curator Fereshteh Daftari constructs a journey through the work of the eighteen artists featured in the book. Political geographer Derek Gregory questions the West's assumptions about the Middle East by asking "Middle of what? East of where?" Offering a counterpoint to Western travellers exoticizing the Middle East, historian Naghmeh Sohrabi examines the experiences of 19th century travellers from the Middle East to the West. Canadian Lebanese artist Jayce Salloum offers a visual essay that responds to the themes of voyage and dislocation. The artwork featured in Safar/Voyage includes photography, installation art, a carpet, a wall mural, painting, and sculpture.
Integrating the Mind
There are currently several debates taking place simultaneously in various fields of psychology which address the same fundamental issue: to what extent are the processes and resources that underlie higher cognition domain-general versus domain-specific? Extreme Domain Specificity argues that people are effective thinkers only in contexts which they have directly experienced, or in which evolution has equipped them with effective solutions. The role of general cognitive abilities is ignored, or denied altogether. This book evaluates the evidence and arguments put forward in support of domain specific cognition, at the expense of domain generality. The contributions reflect a range of experti...
Sovereign Screens
While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ethnography of the Aboriginal media community in Vancouver, Sovereign Screens reveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions. Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the int...
The Spotlight
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Making Representations
Looks at how cultures have been exhibited in western museums in the past and how practices are changing which challenge the traditional role that museums have played.
Preserving What Is Valued
Preserving What Is Valued explores the concept of preserving heritage. It presents the conservation profession's code of ethics and discusses four significant contexts embedded in museum conservation practice: science, professionalization, museum practice, and the relationship between museums and First Nations peoples. Museum practice regarding handling and preservation of objects has been largely taken as a given, and it can be difficult to see how these activities are politicized. Clavir argues that museum practices are historically grounded and represent values that are not necessarily held by the originators of the objects. She first focuses on conservation and explains the principles an...
Testing the Canon of Ancient Near Eastern Art and Archaeology
This book considers the "Greatest Hits" of ancient Near Eastern art and archaeology, including canonical objects, sites, and monuments from Egypt, the Levant, Turkey, Syria, Iraq, and Iran, from the prehistoric era through the Classical period. Gansell, Shafer, and their contributors investigate the factors that have made these historical artifacts so well known for so long. By questioning the canon, this book allows readers to better reflect on the range of ancientNear Eastern culture and revise the canon so it can accommodate new discoveries, represent the values of heritage communities, and remain relevant to contemporary and future audiences.
Museum Pieces
The ways in which Aboriginal people and museums work together have changed drastically in recent decades. This historic process of decolonization, including distinctive attempts to institutionalize multiculturalism, has pushed Canadian museums to pioneer new practices that can accommodate both difference and inclusivity. Ruth Phillips argues that these practices are "indigenous" not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and ...
