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'The great purpose of landscape art is to make us at home in our own country'was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In Beyond Wilderness contributors pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked'beyond wilderness'to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession, contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montréal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trépanier (Québec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York).

'The great purpose of landscape art is to make us at home in our own country'was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In this book, John O'Brian and Peter White pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked'beyond wilderness'to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montreal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trepanier (Quebec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York).

Finalist: Raymond Klibansky Book Prize Humanities and Social Sciences Federation of Canada (2008) Making a connection between photography and memory is almost automatic. Should it be? In Scissors, Paper, Stone Martha Langford explores the nature of memory and art. She challenges the conventional emphasis on the camera as a tool of perception by arguing that photographic works are products of the mind - picturing memory is, first and foremost, the expression of a mental process. Langford organizes the book around the conceit of the child's game scissors, paper, stone, using it to ground her discussion of the tensions between remembering and forgetting, the intersection of memory and imagination, and the relationship between memory and history. Scissors, Paper, Stone explores the great variety of photographic art produced by Canadian artists as expressions of memory. Their work, including images by Carl Beam, Carole Condé and Karl Beveridge, Donigan Cumming, Stan Denniston, Robert Houle, Robert Minden, Michael Snow, Diana Thorneycroft, Jeff Wall, and Jin-me Yoon, is presented as part of a rich interdisciplinary study of contemporary photography and how it has shaped modern memory.

In 1967, Montreal hosted Man and His World/Terre des hommes. By far the most successful cultural event ever produced in Canada, it was embraced by the public at the same time as intellectuals from Marshall McLuhan to Umberto Eco hailed it as a new type of exhibition for a new global age.Because it was held where and when it was – on a man-made archipelago in the St Lawrence River seven years into Quebec's Quiet Revolution – Expo 67 also provided a prism through which the idea of the nation could be refracted and recast in original ways. Misunderstood by some scholars as an expensive exercise in official patriotism, while maligned by Quebec intellectuals as a crypto-federalist distraction from the real business of national independence, the fair nevertheless showcased Montreal as the de facto capital of a suddenly modern Quebec engaging with a late-modern world.Expo 67 and Its World proposes a reappraisal of the 1967 Montreal International and Universal Exhibition across a range of political, social, and cultural spaces: from the dispossession of Indigenous Peoples and what was then known as the Third World, through the aspirations of Montreal, Quebec, and Canada, to the increasingly global ambit of youth culture, medicine, film, and finance. A new approach to understanding Expo 67, the collection challenges assumptions about the significance of the event to Canadian, Québécois, and First Nations history.

Bringing together fifteen scholars of art and culture, Unsettling Canadian Art History addresses the visual and material culture of settler colonialism, enslavement, and racialized diasporas in the contested white settler state of Canada.This collection offers new avenues for scholarship on art, archives, and creative practice by rethinking histories of Canadian colonialisms from Black, Indigenous, racialized, feminist, queer, trans, and Two-Spirit perspectives. Writing across many positionalities, contributors offer chapters that disrupt colonial archives of art and culture, excavating and reconstructing radical Black, Indigenous, and racialized diasporic creation and experience. Exploring the racist frameworks that continue to erase histories of violence and resistance, this book imagines the expansive possibilities of a decolonial future.Unsettling Canadian Art History affirms the importance of collaborative conversations and work in the effort to unsettle scholarship in Canadian art and culture.

Performance embodies knowledge transfer, cultural expression, and intercultural influence. It is a method through which Indigenous people express their relations to land and continuously establish their persistent political authority. But performance is also key to the misrepresentation of Indigenous peoples in settler colonial societies. Against the Current and Into the Light challenges dominant historical narratives of the land now known as Stanley Park, exploring performances in this space from the late nineteenth century to the present. Selena Couture engages with knowledge held in an endangered Indigenous language's place names, methods of orientation in space and time, and conceptions of leadership and respectful visiting. She then critically engages with narratives of Vancouver history created by the city's first archivist, J.S. Matthews, through his interest in Lord Stanley's visit to the park in 1889. Matthews organized several public commemorative performances on this land from the 1940s to 1960, resulting in the iconic yet misleading statue of Lord Stanley situated at the park's entrance. Couture places Matthews's efforts at commemoration alongside continuous political interventions by Indigenous people and organizations such as the Native Brotherhood of British Columbia, while also responding to contemporary performances by Indigenous women in Vancouver that present alternative views of history. Using the metaphor of eddies of influence - motions that shape and are shaped by obstacles in their temporal and spatial environments - Against the Current and Into the Light reveals how histories of places have been created, and how they might be understood differently in light of Indigenous resurgence and decolonization.

Notions of identity have long structured women's art. Dynamics of race, class, and gender have shaped the production of artworks and oriented their subsequent reassessments. Arguably, this is especially true of art by women, and of the socially engaged criticism that addresses it. If identity has been a problem in women's art, however, is more identity the solution? In this study of nineteenth- and early twentieth-century art in Canada, Kristina Huneault offers a meditation on the strictures of identity and an exploration of forces that unsettle and realign the self. Looking closely at individual artists and works, Huneault combines formal analysis with archival research and philosophical inquiry, building nuanced readings of objects that range from the canonical to the largely unknown. Whether in miniature portraits or genre paintings, botanical drawings or baskets, women artists reckoned with constraints that limited understandings of themselves and others. They also forged creative alternatives. At times identity features in women's artistic work as a failed project; at other times it marks a boundary beyond which they were able to expand, explore, and exult. Bringing together settler and indigenous forms of cultural expression and foregrounding the importance of colonialism within the development of art in Canada, I'm Not Myself at All observes and reactivates historical art by women and prompts readers to consider what a less restrictive conceptualization of selfhood might bring to current patterns of cultural analysis.

Canadian readers have enjoyed their own graphic satire since colonial times and Canadian artists have thrived as they took aim at the central issues and figures of their age. Graphic satire, a combination of humorous drawing and text that usually involves caricature, is a way of taking an ethical stand about contemporary politics and society. First appearing in short-lived illustrated weeklies in Montreal, Quebec City, and Toronto in the 1840s, usually as unsigned copies of engravings from European magazines, the genre spread quickly as skilled local illustrators, engravers, painters, and sculptors joined the teams of publishers and writers who sought to shape public opinion and public policy. A detailed account of Canadian graphic satire, Sketches from an Unquiet Country looks at a century bookended by the aftermath of the 1837–38 Rebellions and Canada's entry into the Second World War. As fully fledged artist-commentators, Canadian cartoonists were sometimes gently ironic, but they were just as often caustic and violent in the pursuit of a point of view. This volume shows a country where conflicts crop up between linguistic and religious communities, a country often resistant to social and political change for women and open to the cross-currents of anti-Semitism, xenophobia, and fascism that flared across Europe and North America in the early twentieth century. Drawing on new scholarship by researchers working in art history, material culture, and communication studies, Sketches from an Unquiet Country follows the fortunes of some of the artists and satiric themes that were prevalent in the centres of Canadian publishing.

In the resistance to the violence of gender-based oppression, vibrant – but often ignored – worlds have emerged, full of nuance, humour, and beauty. Correcting an absence of writing about contemporary feminist work by Canadian artists, Desire Change considers the resurgence of feminist art, thought, and practice in the past decade by examining artworks that respond to themes of diversity and desire.Essays by historians, artists, and curators present an overview of a range of artistic practices including performance, installation, video, textiles, and photography. Contributors address the desire for change through three central frames: how feminist art has significantly contributed to the complex understanding of gender as it intersects with sexuality and race; the necessary critique of patriarchy and institutions as they relate to colonization within the Canadian nation-state; and the ways in which contemporary critiques are formed and expressed.Heavily illustrated with representative works, Desire Change raises both the stakes and the concerns of contemporary feminist art, with an understanding that feminism is always and necessarily plural.

Entre 1867 et 2000, le gouvernement canadien a placé plus de 150 000 enfants autochtones dans des pensionnats d'un bout à l'autre du pays. Les autorités gouvernementales et les missionnaires étaient d'avis qu'afin de « civiliser et de christianiser » les enfants autochtones, il fallait les éloigner de leurs parents et de leur communauté d'origine respective. La vie de ces enfants au pensionnat était empreinte de solitude et d'exclusion. La discipline y était stricte et le déroulement du quotidien, lui, fortement régenté. Les langues et les cultures autochtones étaient dénigrées et réprimées. L'éducation et la formation technique prenaient trop souvent la forme de corvées et de tâches ménagères assurant l'autonomie des pensionnats. La négligence à l'égard des enfants fut institutionnalisée et le manque de supervision donna lieu à des situations où les élèves furent victimes de sévices physiques et sexuels. Une poursuite judiciaire déposée par les anciens pensionnaires a mené, en 2008, à la mise sur pied de la Commission de vérité et réconciliation du Canada. Étant l'aboutissement de plus de six ans de recherche, le rapport final de la Commission présente l'histoire des pensionnats ainsi que leur héritage, et trace la voie de la réconciliation. Pensionnats du Canada : La réconciliation documente la complexité de la réconciliation en présentant les constatations tirées des témoignages des survivants des pensionnats et d'autres participants aux activités et aux audiences de la Commission. Pour de nombreux Autochtones, la réconciliation passe par l'apaisement des familles et des collectivités, et par la revitalisation des cultures, des langues, de la spiritualité, des lois et des systèmes de gouvernance. Pour les gouvernements, l'institution d'une relation respectueuse suppose le démantèlement d'une culture politique et bureaucratique séculaire s'appuyant, trop souvent, sur des notions d'assimilation dépassées. Quant aux Églises, un engagement à long terme envers la réconciliation passe par la réparation des actes dévastateurs commis dans les pensionnats, le respect de la spiritualité des Autochtones et le soutien à leur lutte pour obtenir justice et équité. Les écoles doivent enseigner l'histoire canadienne en favorisant le respect mutuel, l'empathie et le dialogue. Les jeunes doivent savoir ce qui s'est passé dans les pensionnats et connaître la riche histoire et les connaissances collectives des peuples autochtones. Ce volume fait aussi ressortir le rôle de la mémoire, de la société canadienne, du secteur privé et des organismes à but non lucratif certes, mais aussi des médias et de la communauté sportive, dans le processus de réconciliation. La Commission presse le Canada d'adopter la Déclaration des Nations Unies sur les droits des peuples autochtones en vue de mener à bien la réconciliation. Victimes de violence et de discrimination, les peuples autochtones ont pourtant des droits conférés à chacun en plus des droits issus de traités, et ces derniers ont un rôle crucial à jouer dans la réconciliation. Tous les Canadiens doivent comprendre en quoi les approches traditionnelles de la résolution de conflits, la réparation des préjudices et la restauration des relations des Premières Nations, des Inuits et des Métis peuvent orienter le processus. Les appels à l'action de la Commission établissent des mesures concrètes à prendre pour que nos descendants puissent vivre ensemble dans la dignité, la paix et la prospérité, sur ces terres désormais communes.

Between 1867 and 2000, the Canadian government sent over 150,000 Aboriginal children to residential schools across the country. Government officials and missionaries agreed that in order to “civilize and Christianize” Aboriginal children, it was necessary to separate them from their parents and their home communities. For children, life in these schools was lonely and alien. Discipline was harsh, and daily life was highly regimented. Aboriginal languages and cultures were denigrated and suppressed. Education and technical training too often gave way to the drudgery of doing the chores necessary to make the schools self-sustaining. Child neglect was institutionalized, and the lack of supervision created situations where students were prey to sexual and physical abusers. Legal action by the schools'former students led to the creation of the Truth and Reconciliation Commission of Canada in 2008. The product of over six years of research, the Commission's final report outlines the history and legacy of the schools, and charts a pathway towards reconciliation. Canada's Residential Schools: Reconciliation documents the complexities, challenges, and possibilities of reconciliation by presenting the findings of public testimonies from residential school Survivors and others who participated in the TRC's national events and community hearings. For many Aboriginal people, reconciliation is foremost about healing families and communities, and revitalizing Indigenous cultures, languages, spirituality, laws, and governance systems. For governments, building a respectful relationship involves dismantling a centuries-old political and bureaucratic culture in which, all too often, policies and programs are still based on failed notions of assimilation. For churches, demonstrating long-term commitment to reconciliation requires atoning for harmful actions in the residential schools, respecting Indigenous spirituality, and supporting Indigenous peoples'struggles for justice and equity. Schools must teach Canadian history in ways that foster mutual respect, empathy, and engagement. All Canadian children and youth deserve to know what happened in the residential schools and to appreciate the rich history and collective knowledge of Indigenous peoples. This volume also emphasizes the important role of public memory in the reconciliation process, as well as the role of Canadian society, including the corporate and non-profit sectors, the media, and the sports community in reconciliation. The Commission urges Canada to adopt the United Nations Declaration on the Rights of Indigenous Peoples as a framework for reconciliation. While Aboriginal peoples are victims of violence and discrimination, they are also holders of Treaty, Aboriginal, and human rights and have a critical role to play in reconciliation. All Canadians must understand how traditional First Nations, Inuit, and Métis approaches to resolving conflict, repairing harm, and restoring relationships can inform the reconciliation process. The TRC's calls to action identify the concrete steps that must be taken to ensure that our children and grandchildren can live together in dignity, peace, and prosperity on these lands we now share.

Entre 1867 et 2000, le gouvernement canadien a placé plus de 150 000 enfants autochtones dans des pensionnats d'un bout à l'autre du pays. Les autorités gouvernementales et les missionnaires étaient d'avis qu'afin de « civiliser et de christianiser » les enfants autochtones, il fallait les éloigner de leurs parents et de leur communauté d'origine respective. La vie de ces enfants au pensionnat était empreinte de solitude et d'exclusion. La discipline y était stricte et le déroulement du quotidien, lui, fortement régenté. Les langues et les cultures autochtones étaient dénigrées et réprimées. L'éducation et la formation technique prenaient trop souvent la forme de corvées et de tâches ménagères assurant l'autonomie des pensionnats. La négligence à l'égard des enfants fut institutionnalisée et le manque de supervision donna lieu à des situations où les élèves furent victimes de sévices physiques et sexuels. Une poursuite judiciaire déposée par les anciens pensionnaires a mené, en 2008, à la mise sur pied de la Commission de vérité et réconciliation du Canada. Étant l'aboutissement de plus de six ans de recherche, le rapport final de la Commission présente l'histoire des pensionnats ainsi que leur héritage, et trace la voie de la réconciliation. Honorer la vérité, réconcilier pour l'avenir résume les six volumes constituant le rapport final de la Commission. Il assimile les pensionnats à l'instrument d'un génocide culturel et indique, par le fait même, que ces pensionnats s'inscrivaient dans le cadre plus large de la politique colonialiste du gouvernement canadien à l'égard des peuples autochtones. Le rapport établit de quelle façon le sous-financement chronique a mené à des conditions de vie malsaines et à des taux de mortalité bien plus élevés que ceux caractérisant le reste de la population canadienne d'âge scolaire. De plus, il indique clairement que le gouvernement avait été avisé des conséquences de ses politiques et que d'autres options lui avaient été proposées, options qu'il a choisi d'ignorer et qui auraient pourtant réduit le taux de mortalité au sein des pensionnats. Les perturbations que ces pensionnats ont causées aux élèves autochtones, à leur famille et aux collectivités sont encore palpables à ce jour. Elles se mesurent par la perte des langues et des liens familiaux dans les communautés autochtones, ainsi que par les écarts qui continuent de séparer les Autochtones et les non-Autochtones du Canada sur les plans de la santé, de l'éducation et de l'emploi. La réconciliation permettra de reconnaître que les pensionnats faisaient partie d'un ensemble plus large de politiques visant à priver les Autochtones de leurs terres, de leur culture, de leur vie spirituelle et de leurs propres gouvernements. Les quatre-vingt-quatorze appels à l'action de la Commission établissent des mesures concrètes à appliquer pour réparer la relation tourmentée qui unit les peuples autochtones à la Couronne, et pour établir des rapports harmonieux entre Autochtones et non-Autochtones.

At a moment when the discipline of Canadian art history seems to be in flux and the study of Canadian visual culture is gaining traction outside of art history departments, the authors of Negotiations in a Vacant Lot were asked: is'Canada'- or any other nation - still relevant as a category of inquiry? Is our country simply one of many'vacant lots'where class, gender, race, ethnicity, and sexual orientation interact? What happens to the project of Canadian visual history if we imagine that Canada, as essence, place, nation, or ideal, does not exist? The argument that culture is increasingly used as an economic and socio-political resource resonates strongly with the popular strategies of'urban gurus'such as Richard Florida, and increasingly with government policy. Such strategies both contrast with, but also speak to traditions of Canadian state support for culture that have shaped the national(ist) discipline of Canadian art history. The authors of this collection stand at the multiple points where national culture and globalization collide, however, suggesting that academic investigation of the visual in Canada is contested in ways that cannot be contained by arbitrary borders. Bringing together the work of scholars from diverse backgrounds and illustrated with dozens of works of Canadian art, Negotiations in a Vacant Lot unsettles the way we have used'nation'to examine art and culture and looks ahead to a global future. Contributors include Susan Cahill (Nipissing University), Mark A. Cheetham (University of Toronto), Peter Conlin (Academia Sinica, Taipei), Annie Gérin (Université du Québec à Montréal), Richard William Hill (York University), Kristy A. Holmes (Lakehead University), Heather Igloliorte (Concordia University), Barbara Jenkins (Wilfrid Laurier University), Alice Ming Wai Jim (Concordia University), Lynda Jessup (Queen's University), Erin Morton (University of New Brunswick), Kirsty Robertson (Western University), Rob Shields (University of Alberta), Sarah E.K. Smith (Queen's University), Imre Szeman (University of Alberta), and Jennifer VanderBurgh (Saint Mary's University).

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.

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 political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transformative power of museum controversy and analyses shifting ideas about art, authenticity, and power in the modern museum.

Focusing on the English- and French-language networks of the Canadian Broadcasting Corporation, Kyle Conway draws on the CBC/Radio Canada rich print and video archive as well as journalists'accounts of their reporting to revisit the story of the accords and the furor they stirred in both French and English Canada. He shows that CBC/Radio Canada attempts to translate language and culture and encourage understanding among Canadians actually confirmed viewers'pre-existing assumptions rather than challenging them. The first book to examine translation in Canadian news, Everyone Says No also provides insight into Canada's constitutional history and the challenges faced by contemporary public service broadcasters in increasingly multilingual and multicultural communities.

Benjamin Chee Chee lived with anger and frustration for more than thirty years before he took his own life. An Ojibway artist who killed himself just as he was beginning to gain international recognition, Chee Chee is one of the thousands of aboriginal peoples in Canada who have commited suicide. Noted suicidologist and former RCMP officer Al Evans explores Chee Chee's wild, reckless, creative life to reveal how the clash between Native and White society has affected the suicide rate of young Native men and women, now among the highest in the world. Using his in-depth understanding of Native self-destructive behaviour and information from interviews with Chee Chee's mother, close friends, and fellow artists, Evans shows that understanding Benjamin's suicide requires moving beyond psychological analysis to include the damage that contact with White society has caused Native culture, heritage, status, and meaning of life. Evans argues that White society needs to understand these dynamics to be involved in the healing process of Aboriginal peoples in Canada - or to at least avoid hindering their recovery.

Through the study of exemplary media works and practices - photography, film, video, performance, installations, web cams - scholars from various disciplines call attention to the unsettling of identification and the disablement of vision in contemporary aesthetics. To look at an image that prevents the stabilization of identification, identity and place; to perceive a representation that oscillates between visibility and invisibility; to relate to an image which entails a rebalancing of sight through the valorization of other senses; to be exposed, through surveillance devices, to the gaze of new figures of authority - the aesthetic experiences examined here concern a spectator whose perception lacks in certainty, identification, and opticality what it gains in fallibility, complexity, and interrelatedness. Precarious Visualities provides a new understanding of spectatorship as a relation that is at once corporeal and imaginary, and persistently prolific in its cultural, social, and political effects. Contributors include Raymond Bellour (École des hautes études en sciences sociales), Monika Kin Gagnon (Concordia University), Beate Ochsner (University of Mannheim -Universität Mannheim), Claudette Lauzon (McGill University), David Tomas (Université du Québec à Montréal), Slavoj Zizek (Ljubljiana University and University of London), Marie Fraser (Université du Québec à Montréal), Alice Ming Wai Jim (Concordia University), Julie Lavigne (Université du Québec à Montréal), Amelia Jones (University of Manchester), Eric Michaud (École des hautes études en sciences sociales), Hélène Samson (McCord Museum), and Thierry Bardini (Université de Montréal).'

Kwakwaka'wakw welcome songs, an aria from Joseph Quesnel's 1808 opera Lucas et Cécile, rubbaboos (a combination of elements from First Peoples, French, and English music), the Tin Pan Alley hits of Shelton Brooks, and the contemporary work of Claude Vivier and Blue Rodeo all dance together in Canada's rich musical heritage. Elaine Keillor offers an unprecedented history of Canadian musical expressions and their relationship to Canada's great cultural and geographic diversity. A survey of'musics'in Canada - the country's multiplicity of musical genres and rich heritage - is complemented by forty-three vignettes highlighting topics such as Inuit throat games, the music of k.d. lang, and orchestras in Victoria. Music in Canada illuminates the past but also looks to the future to examine the context within which Canadian music began and continues to develop. A CD by the author of previously unrecorded Canadian music is included.

Using recent scholarship in ethnography and popular culture, Miller throws light on both what these series present and what is missing, how various long-standing issues are raised and framed differently over time, and what new issues appear. She looks at narrative arc, characterization, dialogue, and theme as well as how inflections of familiar genres like family adventure, soap opera, situation comedy, and legal drama shape both the series and viewers'expectations. Miller discusses Radisson, Forest Rangers and other children's series in the 1960s and early 1970s, as well as Beachcombers, Spirit Bay, The Rez, and North of 60 - series whose complex characters created rewarding relationships while dealing with issues ranging from addiction to unemployment to the aftermath of the residential school system.

Writing across the disciplines of sociology, literature, film, anthropology, and museology, the contributors examine the way in which radical postmodern shifts around knowledge and value have mobilized new relations between ourselves and others and transformed a range of cultural practices. This volume includes philosophical reflections and essays on museums and memory, visual culture, and relations with the other. Postmodernism and the Ethical Subject examines the altered frameworks that simultaneously help us to meet the contemporary challenge and raise the ethical stakes of our historical moment.

Ord looks at the gallery's historical and intellectual context - from 1910 when Eric Brown became the gallery's founding director, through Jean Sutherland Boggs, to Shirley Thomson - shedding light on its acquisitions, government policy towards the arts, and the public's deep-rooted suspicion of avant-garde art. In showing how Canadian art came to be housed in a building whose architectural and ideological sources include Gothic cathedrals, Islamic mosques, Egyptian temples, St Peter's Basilica, and the squared-stone facades of the Holy City of Jerusalem, The National Gallery of Canada insightfully explores the relationship of Canada's art and its National Gallery to the project of the Canadian nation state.

New offers an unconventionally structured overview of Canadian literature, from Native American mythologies to contemporary texts. Publishers Weekly A History of Canadian Literature looks at the work of writers and the social and cultural contexts that helped shape their preoccupations and direct their choice of literary form. W.H. New explains how - from early records of oral tales to the writing strategies of the early twenty-first century - writer, reader, literature, and society are interrelated. New discusses both Aboriginal and European mythologies, looking at pre-Contact narratives and also at the way Contact experience altered hierarchies of literary value. He then considers representations of the'real,'whether in documentary, fantasy, or satire; historical romance and the social construction of Nature and State; and ironic subversions of power, the politics of cultural form, and the relevance of the media to a representation of community standard and individual voice. New suggests some ways in which writers of the later twentieth century codified such issues as history, gender, ethnicity, and literary technique itself. In this second edition, he adds a lengthy chapter that considers how writers at the turn of the twenty-first century have reimagined their society and their roles within it, and an expanded chronology and bibliography. Some of these writers have spoken from and about various social margins (dealing with issues of race, status, ethnicity, and sexuality), some have sought emotional understanding through strategies of history and memory, some have addressed environmental concerns, and some have reconstructed the world by writing across genres and across different media. All genres are represented, with examples chosen primarily, but not exclusively, from anglophone and francophone texts. A chronology, plates, and a series of tables supplement the commentary.

What kind of a country is Canada beyond Quebec? With a referendum on Quebec sovereignty looming on the horizon, this is a question Canadians are being forced to ask. In Beyond Quebec scholars from a wide variety of disciplines examine the current political, cultural, economic, and social situation of Canada outside Quebec and speculate on the nature of a Canada that does not include Quebec on the present terms.