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This book is unique. Chris has spent the last few years tracking down hundreds of the amazing people he photographed in the 1970s, 80s and 90s. Some were easy, some were hard, some were impossible to find. When he was successful, Chris arranged a reunion at the location of the original photograph and took another picture. This book is an incredible collection of those pairs of photographs with text from writer Jo Riley telling the stories of the people in the photos.
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Jack Shadbolt was inspired in his formative years by his contact with Emily Carr and with her brooding works portraying the remnants of Indian villages against the overwhelming wilderness. He made sketches of Indian artefacts and the Cowichan Reserve in the 1930s, but it was only after World War II that elements of Indian art began to show up in his style. Marjorie Halpin finds in the changes in the way Indian forms occur in Shadbolt's paintings an appropriate expression of the changing attitudes of British Columbians to Native society and the political will the Native people now manifest. The place of Indian motifs in Shadbolt's painting can be broadly correlated with the cultural quickening of Indian society in recent years. They reveal his emotional sympathy with Kwagiutl, Haida, and Tlingit forms and his deep response to the Indians' spiritual and historic presence in the British Columbia environment.
The history of Aboriginal people in Canada taught in schools and depicted in the media tends to focus on Aboriginal displacement from native lands and the consequent social and cultural disruptions they have endured. Collectively, they are portrayed as passive victims of European colonization and government policy, and, even when well intentioned, these depictions are demeaning and do little to truly represent the role Aboriginal peoples have played in Canadian life. Hidden in Plain Sight adds another dimension to the story, showing the extraordinary contributions Aboriginal peoples have made - and continue to make - to the Canadian experience. From treaties to contemporary arts and literatu...
This illuminating and provocative book is the first anthology devoted to Twentieth Century Native American and First Nation art. Native American Art brings together anthropologists, art historians, curators, critics and distinguished Native artists to discuss pottery, painitng, sculpture, printmaking, photography and performance art by some of the most celebrated Native American and Canadian First Nation artists of our time The contributors use new theoretical and critical approaches to address key issues for Native American art, including symbolism and spirituality, the role of patronage and musuem practices, the politics of art criticism and the aesthetic power of indigenous knowledge. The...
A beguiling look at the collaborative nature of art and design in postwar British Columbia.
Will Gorlitz: nowhere if not here examines the art, background, and theoretical concerns of contemporary Canadian artist Will Gorlitz. Appreciated especially for his painting and drawing, Gorlitz produces imaginative and highly visual artwork that is further distinguished by its fundamentally restructured and critically extended approach to representational painting. With differing emphases from several contributing writers, this book identifies the contexts, methodologies, and motivations that comprise the artist’s practice over the past 25 years. The book is published in conjunction with a major circulating survey exhibition of Gorlitz’s work organized by Allan MacKay for the Kitchener-Waterloo Art Gallery in partnership with the Macdonald Stewart Art Centre. Co-published with the Kitchener-Waterloo Art Gallery
Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.