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How do you begin to write an art history and what are the vital questions to ask? Which marks are most prominent in the visual culture of a particular place, and which are nearly invisible? In Future Possible (a riff on an Andy Jones monologue about how Newfoundlanders talk about their future, an attitude which he describes as "Future possible, possibly horrible"), Mireille Eagan and writers and artists such as Heather Igloliorte, Lisa Moore, Andy Jones, and Craig Francis Power navigate the tangled histories and cultures of Newfoundland and Labrador to investigate the visual output and to write the narrative that it has created. The result is an ambitious volume, arising from a two-part exhi...
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WINNER OF THE BEST PUBLISHED ATLANTIC BOOK AWARD FOR 2006 PRESENTED BY THE ATLANTIC PUBLISHERS MARKETING ASSOCIATION. This volume celebrates the life and work of Helen and Reginald Shepherd and at the same time assesses their contribution to the visual arts in Newfoundland. It begins with an introduction by Ronald Rompkey to situate the Shepherds in the post-Confederation cultural milieu, followed by a general biographical and historical essay by Peter Gard, who wrote the catalogue for the AGNL exhibition "Helen Parsons Shepherd and Reginald Shepherd: Four Decades" in 1989. Next, jou alist and playwright Joan Sullivan explores through interviews with former students the environment created a...
The Canadian Almanac & Directory is the most complete source of Canadian information available - cultural, professional and financial institutions, legislative, governmental, judicial and educational organizations. Canada's authoritative sourcebook for almost 160 years, the Canadian Almanac & Directory gives you access to almost 100,000 names and addresses of contacts throughout the network of Canadian institutions.
A romantic view of 19th-century Canada -- a domestic complement to the work of Bartlett, Constable, and Kane. Anthony Flower (1792-1875) lived and worked in New Brunswick for most of his life. A farmer with a lifelong passion for art, he painted until his death at the age of eighty-three. His work opens a window on a time and place now gone. His paintings depict the life that he saw around him in rural New Brunswick and the events and scenes described in newspapers of the day. For most people in early nineteenth-century North America, reading, writing, and painting took a back seat to the day-to-day struggle to set up homesteads and provide for families. But Flower came from a family and a segment of London society where artistic accomplishment would have been expected and valued. Anthony Flower's art was among the first in New Brunswick to depict rural New Brunswick. Through his paintings, we learn about day-to-day life, religion, how people dressed, what their interests were, and what was important to them, all important pieces to our understanding of everyday life in nineteenth-century Canada.
The Travel Guide to Canada is published annually by Globelite Travel Marketing Inc. This high-quality magazine includes detailed editorial sections on each of Canada's Provinces and Territories, as well as feature sections on topics such as Indigenous Tourism, What's New, Golf, Food and Drink, Cruising, Spas and more.