McGill-Queen's/Beaverbrook Canadian Foundation Studies in Art History – serie

Jean Paul Riopelle est surtout connu pour les célèbres toiles abstraites de sa maturité artistique. Toutefois, François Marc Gagnon amorce cette histoire fascinante avec les premières peintures et l'adhésion précoce à l'objectivité, avant de sonder la participation de l'artiste à l'automatisme et l'incidence durable de ce mouvement sur son œuvre. Gagnon retrace les premières étapes du cheminement de Riopelle depuis le style figuratif traditionnel enseigné par Henri Bisson, son premier professeur, jusqu'au virage subjectif inspiré par une exposition itinérante d'art hollandais et, en particulier, des toiles de Vincent Van Gogh, ainsi qu'aux expériences automatistes dans un atelier d'une ruelle de Montréal où le peintre travaille en compagnie de Marcel Barbeau et de Jean Paul Mousseau. Dès 1946, Riopelle est un émissaire de l'automatisme à Paris, où il organise la première exposition collective consacrée à ce style. L'auteur montre que malgré la perception d'un désintéressement idéologique, Riopelle a joué un rôle déterminant dans la publication du Refus global, manifeste dont il a dessiné la couverture et qu'il défendra publiquement, alors que la controverse agite les cercles artistiques et intellectuels du Québec. En 1949, après avoir embrassé la notion automatiste d'une peinture sans préconception, Riopelle adopte un style très personnel, où le hasard tient une place prépondérante. L'auteur retrouve cette démarche dans l'œuvre et les témoignages du peintre lui-même, qu'il fait dialoguer habilement avec les textes de philosophes et de théoriciens sur le rôle du hasard dans la créativité. Il propose en outre une analyse formelle du style et de la technique privilégiés par son sujet au moment où il abandonne définitivement le pinceau pour la spatule. Dans ce premier examen approfondi du rapport de Riopelle à la peinture américaine et à Jackson Pollock en particulier, il remet en question l'idée, pourtant largement acceptée, d'une influence de Pollock, qu'il juge peu probante. Cet ouvrage d'érudition, stimulant et clair, dernier de la longue carrière de l'auteur, est porté comme toujours par une écriture brillante. Il se distingue par son originalité, son intégrité et une connaissance approfondie de l'œuvre et du milieu de l'artiste, ce « trappeur supérieur » selon le mot d'André Breton.

What does it mean to live in a post-atomic world? Photography and contemporary art offer a provocative lens through which to comprehend the by-products of the atomic age, from weapons proliferation, nuclear disaster, and aerial surveillance to toxic waste disposal and climate change. Confronting cultural fallout from the dawn of the nuclear age, Through Post-Atomic Eyes addresses the myriad iterations of nuclear threat and their visual legacy in the twentieth and twenty-first centuries. Whether in the iconic black-and-white photograph of a mushroom cloud rising over Nagasaki in 1945 or in the steady stream of real-time video documenting the 2011 meltdown at the Fukushima Daiichi nuclear power plant, atomic culture - and our understanding of it - is inextricably constructed by the visual. This book takes the image as its starting point to address the visual inheritance of atomic anxieties; the intersection of photography, nuclear industries, and military technocultures; and the complex temporality of nuclear technologies. Contemporary artists contribute lens-based works that explore the consequences of the nuclear, and its afterlives, in the Anthropocene. Revealing, through both art and prose, startling new connections between the ongoing threat of nuclear catastrophe and current global crises, Through Post-Atomic Eyes is a richly illustrated examination of how photography shapes and is shaped by nuclear culture.

Object Lives and Global Histories in Northern North America explores how close, collaborative looking can discern the traces of contact, exchange, and movement of objects and give them a life and political power in complex cross-cultural histories. Red River coats, prints of colonial places and peoples, Indigenous-made dolls, and an Englishwoman's collection provide case studies of art and material culture that correct and give nuance to global and imperial histories. The result of a collaborative research process involving Indigenous and non-Indigenous contributors, this book looks closely at the circumstances of making, use, and circulation of these objects: things that supported and defined both Indigenous resistance and colonial and imperial purposes. Contributors re-envision the histories of northern North America by focusing on the lives of things flowing to and from this vast region between the eighteenth and the twentieth centuries, showing how material culture is a critical link that tied this diverse landscape to the wider world. An original perspective on the history of northern North American peoples grounded in things, Object Lives and Global Histories in Northern North America provides a key analytical and methodological lens that exposes the complexity of cultural encounters and connections between local and global communities.

For immigrants making the transoceanic journey from Europe or Asia to North America, the experience of a new country began when they disembarked. In Canada the federal government built a network of buildings that provided newcomers with shelter, services, and state support. "Immigration sheds" such as Pier 21 in Halifax – where ocean liners would dock and global migrants arrived and were processed – had many counterparts across the country: new arrivals were accommodated or incarcerated at reception halls, quarantine stations, and immigrant detention hospitals.For the Temporary Accommodation of Settlers reconstructs the experiences of people in these spaces – both immigrants and government agents – to pose a question at the heart of architectural thinking: how is meaning produced in the built environments that we encounter? David Monteyne interprets official governmental intentions and policy goals embodied by the architecture of immigration but foregrounds the unofficial, informal practices of people who negotiated these spaces to satisfy basic needs, ensure the safety of their families, learn about land and job opportunities, and ultimately arrive at their destinations. The extent of this Canadian network, which peaked in the early twentieth century at over sixty different sites, and the range of building types that comprised it are unique among immigrant-receiving nations in this period.In our era of pandemic quarantine and migrant detention facilities, For the Temporary Accommodation of Settlers offers new ways of seeing and thinking about the historical processes of immigration, challenging readers to consider government architecture and the experience of migrants across global networks.

The agency of photographs is a recurrent concern within the context of the city. Whether found in architectural records, social documentary, photojournalism, or artistic practice, photographic objects are embedded in urban contestation, aesthetically charged by artists, reinserted into social histories, and mobilized to imagine a future city. Photogenic Montreal takes a question initially posed by heritage debates – what does photography preserve? – and creates a rich conversation about the agency of the human actors before and behind the camera, and of the medium itself.The interplay of archives and activisms structures the book. Photographs that appear to be sealed off in newspapers, storage rooms, or archives accrue new meaning when they cross the threshold back into social spaces and circulate anew. It is through the reactivation of archival photographs that submerged traces of urban experience are discovered, and alternate histories of Montreal can be recounted. Multiple forms of activism and artistic expression complement this archival work. Beginning in the 1960s, community-minded and heritage groups responded to the tensions arising from urban reconstruction, gentrification, and the erasure of neighbourhoods; this activism also left its photographic traces.Attentive to the still-changing face of the city's architecture, neighbourhoods, and street life, Photogenic Montreal participates in debates about who the city belongs to, who speaks on its behalf, and how to picture its past and present.

A captivating account of the formative years of one of Canada’s best-known artists, Jackson’s Wars follows A.Y. Jackson’s education and progress as a painter before he was a well-known artist and his time on the battlefield in Europe, before he cast his lot in with a group of like-minded Toronto artists.Jackson fought many battles: he was a feisty and opinionated combatant when he crossed swords with critics, collectors, museums, galleries, and fellow painters as an emerging artist. Moving from Montreal to Toronto in 1913, he became a key figure in a landscape movement that was determined to depict Canada in a bold new way, only to have a war dash the group's collective ambitions. Alone among his close associates, Jackson enlisted to fight with the 60th Infantry Battalion. Wounded at Sanctuary Wood in 1916, he returned to the field of combat as an official war artist – the first Canadian artist appointed, the only infantryman in the program – and militated for other Canadian appointments to what is now a storied moment of creation for such artists as F.H. Varley and Arthur Lismer. Jackson produced some of Canada’s most memorable depictions of the world’s first industrial-scale conflict, even as he reckoned with the anguish caused by the mysterious death of his close friend Tom Thomson. A life-changing event for soldiers, families, and nations alike, the First World War has been understood as a moment of stasis in the visual arts in Canada – the dead ground from which the Group of Seven emerged in the early 1920s. Douglas Hunter shows how Jackson’s war was a moment of intense transformation and artistic development on the canvas as well as an experience that tempered a young man into a constructive elder statesman for Canadian art. On his return home he was not only instrumental in the formation of the Group of Seven in Toronto, but a key figure for the Beaver Hall Group in Montreal.Jackson’s Wars is a story of brotherhoods of painters and soldiers, shot through with inspiration, ambition, trauma, and loss, on the home front as well as on the battlefield. Hunter widens and deepens A.Y. Jackson’s world of friends, family, and colleagues to capture the life of a complex man and the crucial events and relationships behind the creation of Canada’s best-known art collective.

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.

Photography, one of the most influential inventions of the nineteenth century, has been shaped by Canadian innovators. Among them are two Quebec men who have flown beneath the radar in studies of the history of photography: the Smeaton brothers.Out of the Studio documents the life, oeuvre, and achievement of Charles Smeaton and his younger brother, John. Launched by the opening of their "photographic gallery" in 1861, they developed a reputation in Quebec for images of contemporaneous people, places, and events taken in challenging outdoor settings. Smeaton pictures of the aftermath of the Great Fire of Quebec in 1866 helped bring an understanding of the disaster to an international audience; images featuring the gold mining industry were displayed at the Exposition universelle in Paris the following year. When Charles travelled to Europe in 1866, he accomplished a feat previously thought impossible, taking the first successful photographs in the Roman catacombs. John moved to Montreal in 1869, where he worked for newspapers and developed techniques for the direct transfer of photographs into print without the necessity of intermediary engravings.Out of the Studio is the first comprehensive biographical study detailing the innovation and imagination of the Smeaton brothers and their legacy of images across two continents.

Leading architect E.J. Lennox designed Casa Loma for the flamboyant Sir Henry Pellatt and Mary, Lady Pellatt as an enormous castellated mansion that overlooked the booming metropolis of Toronto. The first scholarly book dedicated to this Canadian landmark, Casa Loma situates the famous "house on the hill" within Toronto's architectural, urban, and cultural history.Casa Loma was not only an outsized home for the self-appointed "Lord Toronto" but a statement of Canada's association with empire, an assertion of the country's British legacy. During and after the Pellatts' occupation, Casa Loma was a major landmark, and it has since infiltrated the iconography and collective memory of the metropolis. The reception of Casa Loma, variously loved and abhorred by Torontonians, reflects many of Toronto's major aspirations and anxieties about itself as a modern city. Across ten chapters, this book charts the history of Casa Loma from the purchase of the estate atop Davenport Ridge in 1903 and its construction from 1906, through to its sale and the dispersal of its contents in 1924, its subsequent life as a hotel, and finally its transformation into one of the city's major entertainment venues.Casa Loma brings to light a wealth of hitherto unpublished archival images and documentation of the house's visual and material culture, weaving together a textured account of the design, use, and life of this unique building over the course of the twentieth century.

Variable Conditions recovers and explores early Canadian encounters between computational media and contemporary art in the late twentieth century, charting a network of developments linking meteorology, computation, and the arts that arose long before the age of cloud computing.Essays uncover the material conditions that shaped the emergence of computational arts in Canada, from projects executed by mainframe to digital paintings and analog synthesizer performances. A surprising number of institutional circumstances granted access to early computer hardware – government nuclear and hydroelectric infrastructure, agencies as diverse as the National Film Board and the National Research Council, and a myriad of university settings across the country – and creative conditions varied from benign administrative neglect to the artistic exploration of randomness or a distinct emphasis on thematizing transformation as a motor for graphic visualization and auditory exploration. Interviews featuring leading artists give first-hand insight into artistic practices and the historical moment in which they occurred. The book provides valuable new perspectives on computer art pioneers such as Leslie Mezei, Robert Adrian X, Suzanne Duquet, Roger Vilder, and Vera Frenkel, as well as new contexts for understanding Michael Snow and IAIN BAXTER&. Not limiting their explorations to art generated using computers, contributors outline the integration of computational techniques and concepts into artistic methods across disciplines and trace computation's emergence as a matter of interest and concern for a range of contemporary cultural producers.Combining historical analyses with theoretical approaches to computation and its entanglement with contemporary cultural discourses and social movements, Variable Conditions excavates the origins of computational arts and, in the process, sketches a new landscape of interdisciplinary creation and surprising connections between scientific and artistic institutions.

In 1891 J. Murakami travelled from Japan, via San Francisco, to Vancouver Island and began working in and around Victoria. His occupation: creating permanent images on the skin of paying clients.From this early example of tattooing as work, Jamie Jelinski takes us from coast to coast with detours to the United States, England, and Japan as he traces the evolution of commercial tattooing in Canada over more than one hundred years. Needle Work offers insight into how tattoo artists navigated regulation, the types of spaces they worked in, and the dynamic relationship between the images they tattooed on customers and other forms of visual culture and artistic enterprise. Merging biographical narratives with an examination of tattooing’s place within wider society, Jelinski reveals how these commercial image makers bridged conventional gaps between cultural production and practical, for-profit work, thereby establishing tattooing as a legitimate career.Richly illustrated and drawing on archives, print media, and objects held in institutions and private collections across Canada and beyond, Needle Work provides a timely understanding of a vocation that is now familiar but whose intricate history has rarely been considered.

From early reports of the invention to its wide application during World War I, the idea of photography created anticipation and participation in the modern world. The first volume of A History of Photography in Canada captures this phenomenon by looking at hundreds of photographs generated in and about Canada-in-the-making and by listening to the chords they struck in the collective imagination.Emphasizing technological readiness and cultural eagerness for the medium, Martha Langford shows how photography served ideals of progress and improvement as Canada’s settler society looked to master the world by seizing its visible traces. The imposition of these programs on Indigenous Peoples and indentured labourers is confronted throughout this volume, which offers both narratives and counternarratives of subjectification. Reproducing images of people, places, events, and objects from the unceded territories of the First Nations, Inuit, and Métis, from British North America, and from the Dominion of Canada and the Dominion of Newfoundland, Langford asks where and when photographs were taken, why, and by whom. How did the making and preservation of a photograph alter the circumstances in which it was produced, and how did this affect individual and collective consciousness? Alongside accomplished portraits, landscapes, still lifes, and their vernacular counterparts, the book draws glimmers of photographic experience from treatises and doggerel, official reports and personal diaries, newspapers, magazines, letters, and travelogues.Anticipation to Participation chronicles eight decades of reinvention and repurposing, from a wondrous discovery to the wide adoption of a basic tool for knowledge gathering, artmaking, and journaling. Langford’s sweeping narrative rewrites the history of photography from the bottom up, vividly expanding the definition of photographic experience.

In 1891 J. Murakami travelled from Japan, via San Francisco, to Vancouver Island and began working in and around Victoria. His occupation: creating permanent images on the skin of paying clients.From this early example of tattooing as work, Jamie Jelinski takes us from coast to coast with detours to the United States, England, and Japan as he traces the evolution of commercial tattooing in Canada over more than one hundred years. Needle Work offers insight into how tattoo artists navigated regulation, the types of spaces they worked in, and the dynamic relationship between the images they tattooed on customers and other forms of visual culture and artistic enterprise. Merging biographical narratives with an examination of tattooing’s place within wider society, Jelinski reveals how these commercial image makers bridged conventional gaps between cultural production and practical, for-profit work, thereby establishing tattooing as a legitimate career.Richly illustrated and drawing on archives, print media, and objects held in institutions and private collections across Canada and beyond, Needle Work provides a timely understanding of a vocation that is now familiar but whose intricate history has rarely been considered.

Beginning his career as an independent architect in the mid-1870s, Frank Darling came to prominence as the principal of Darling & Pearson Architects, designing a plethora of delightful bank buildings in the early twentieth century. Darling’s work aligned with the national ambitions of his clients and gave shape to Britain’s global imperial project on Canadian soil.In Toronto Edwardian David Winterton positions Darling as a leading architectural figure of the era. He demonstrates that the Canadian Edwardian Grand Manner was not merely an architectural interlude: it was pivotal to the development of Canada’s cultural identity and of the possibility of a national architecture in the early twentieth century. Darling was the first Canadian architect with a truly national presence, with built projects in every province – over 360 known buildings – ranging from elaborate urban designs to prefabricated banks that rose up in many towns and villages west of Lake Superior. Winterton has drawn from institutional archives and consulted with local historians, heritage professionals, and scholars to meticulously reconstruct the story of Frank Darling and his work. First exploring biographical, cultural, and patronage contexts, then focusing on the design and construction of fine houses, academic buildings, banks, and even the country’s first skyscrapers, Toronto Edwardian features new and previously unpublished photographs that illuminate the firm’s considerable influence and provide a visual record of Darling’s approach to style.Toronto Edwardian richly illustrates the breadth of Darling’s architectural creation and compellingly articulates the Edwardian period’s importance to Canadian architecture.

The classical architectural and planning schemes conceived by Canada’s Anglo-settler elite in the early twentieth century embodied a prescriptive vision of power and grandeur for the country and its people on a scale almost unimaginable today. This provocative collection of essays examines the classical design precepts that shaped much of Canada’s built environment – leaving an imprint for how we continue to experience place today.Classicism in Canada brings together essays by planning, architectural, art, political, and social historians. Drawing on primary sources and the physical sites themselves, the contributors probe the meaning of a style that melded the École des Beaux-Arts with the sensibilities of the City Beautiful movement and that was rooted in assumptions about order and historical continuity. The transformation of built space and land was motivated by pragmatism, aesthetics, and an ideological infrastructure that reverberated with utopian zeal as much as it was driven by racial discrimination and Indigenous erasure. The book analyzes cities, towns, banks, parks, and tourist sites while also offering a microhistory of Hamilton, Ontario, a case study par excellence where municipal officials, planners, and architects pursued so-called improvements to the expanding industrial city.Richly illustrated with many previously unpublished images and framed through spatial, social, and decolonial perspectives, Classicism in Canada shows how building and planning aimed to shape a place for Canada within the British imperial fold.

By the early twentieth century photography had emerged as a ubiquitous medium with deep cultural, social, and political force. A Medium Unleashed shows how photography moved beyond recording events to actively shaping them, transforming how Canadians imagined themselves and their country.Drawing on the work of photographers in Canada and Newfoundland, foreign correspondents, and Canadian-born artists active abroad, Martha Langford relates a lively and richly researched history of the medium. The First World War had greatly expanded the reach of photography – already in use for four generations – introducing photojournalism as well as aerial, industrial, and reconnaissance photography. Professional practice grew alongside widespread amateur enthusiasm, supported by clubs, communal darkrooms, classes, contests, and salons. During the Second World War photography became more organized and specialized as information units laid the groundwork for the postwar commercial studio. The medium also moved into public and commercial life, from medical and advertising uses to more provocative explorations of the human body. But socialization begins at home, where participation is varied: not just taking or making but staging, posing, and talking about pictures. Across twenty-five chapters devoted to distinct photographic practices, the second volume of this comprehensive history puts people, places, events, and objects in the frame: at home or on the move, on the ice or in the ring, from farm to factory to laboratory, shipyard to outport to far North, from the Winnipeg riots to Expo 67. By 1969 photography had secured creative recognition, mass appeal, practical utility, and persuasive authority, embraced by both establishment institutions and countercultural movements.This is the history of a transnational medium seen through a national lens. Langford moves fluidly between incisive readings of individual photographs and the broader transformation of the Canadian imaginary, vividly expanding the definition of photographic experience.

Joseph Idlout was one of the most widely recognized Inuit figures of his time, famous for his role in the film Land of the Long Day and for a still photograph of him and his family that appeared on the Canadian two-dollar bill. These as well as other films and photographs were made by qallunaat filmmaker Doug Wilkinson. Idlout and Wilkinson had a complex connection forged with cameras: Wilkinson taught Idlout to photograph; Idlout and members of his camp were active collaborators in Wilkinson’s films, never solely the product of southern imagination. Idlout crafted a powerful visual record of Inuit life within a relationship that, while built on mutual dependence and respect, remained deeply inequitable. Through photographs and Inuit memory, The Hunter, the Crown, and the Cameras traces the entangled histories of Inuit and settlers in the Qikiqtani region during the 1950s and into the 1960s. Idlout’s work serves as a guide to a period of cultural encounter and the role of photography and film in understanding or misunderstanding Inuit life. He was a skilled photographer as well as a hunter, and the Nunavut Archives now hold some three hundred photographs credited to him. Dating from 1951 to 1958, the images depict camp life, encounters with qallunaat, and a journey he made with other Inuit to Kalaallit Nunaat/Greenland. Created during a period of intensified contact with southerners, state intervention, and forced assimilation – what the Qikiqtani Truth Commission calls Sangussaqtauliqtilluta (the disruption) – these images document both the resilience of Inuit culture and subtle forms of resistance to southern authority.Building on this visual record, family and community voices illuminate Idlout’s images. The volume reproduces contemporary texts by Joseph Idlout and his daughter Leah Idlout d’Argencourt Paulson and includes the words of his children Paul Ullatitaq Idlout and Susan Salluviniq and his grandson Joshua Idlout. Moses Idlout, Ludy Pudluk, Jacob Anaviapik, Elisapee Ootoova, Ruth Sangoya, and Solomon Awa also offer insight into his life and work. The book begins with a foreword by Idlout’s granddaughter Madeleine d’Argencourt; Inuk historian, educator, and curator Augatnaaq Eccles co-authored one chapter and co-curated a related online exhibition.Structured around cyclical Inuit conceptions of time, The Hunter, the Crown, and the Cameras advances an approach to Arctic history that integrates visual analysis, Inuit testimony, and archival research to re-story Sangussaqtauliqtilluta.

In the wake of the attacks of 11 September 2001, and amid the expansion of US-led security policy, surveillance quickly insinuated itself into the fabric of everyday life in Canada. Practices once confined to military and intelligence operations now shape civilian spaces, where observation feels routine and scrutiny increasingly normalized as the cost of national and global security. Yet this apparent shift masks a deeper continuity: surveillance has long operated as a tool of settler-colonial control. Contemporary surveillance practices – often justified by the rhetoric of security and the War on Terror – extend earlier systems of classifying, managing, and extracting from populations under colonial and imperial rule.States of Observance examines this history through the lens of contemporary art, focussing on creative projects produced and exhibited from 2001 to 2021. Treating artworks and exhibitions as generative case studies, Susan Cahill argues that surveillance is not only a technological condition, but also a colonial way of seeing. The book demonstrates that artistic practice does more than reflect surveillance culture; it actively interrogates and reshapes how we understand the political, technological, and historical forces that sustain it. Cahill contends that art renders visible both the seen and unseen infrastructures that organize everyday life, challenging the normalization of surveillance and exposing its underlying logics.Amid intensifying debates over digital rights and colonial accountability, States of Observance explores how creative and curatorial practices reveal the hidden operations and colonial continuities of the contemporary surveillance state and their implications for social justice in Canada.

Part art, part science, part anthropology, this ambitious project presents an early Canadian perspective on natural history that is as much artistic and fantastical as it is encyclopedic. Edited and introduced by François-Marc Gagnon, The Codex Canadensis and the Writings of Louis Nicolas showcases an intriguing attempt to document the life of the new world - flora, fauna, and aboriginal. The book brings together for the first time the illustrated Codex Canadensis and The Natural History of the New World, following Gagnon's argument that both can be attributed to Louis Nicolas, a French Jesuit priest who travelled throughout Canada between 1664 and 1675. Histoire Naturelle des Indes Occidentales, originally written in classical French, has been put in modern French by Réal Ouellet and translated into English by Nancy Senior. The Natural History presents a pre-Linnaean botany and pre-Darwinian account of living things, including hundreds of species of plants and vivid descriptions of wildlife. It is thoroughly annotated, focusing on the contemporary identification of species, as the result of a pan-Canadian collaboration of experts in fields from linguistics to biology and botany. The Codex Canadensis, currently in the collection of the Gilcrease Museum in Tulsa, Oklahoma, is reproduced in full and provides both a fascinating visual account of wildlife as Nicolas saw it and a rare example of early Canadian art. Gagnon's introduction profiles Louis Nicolas and analyses connections between his work and European examples of natural illustration from the period. The Codex Canadensis and the Writings of Louis Nicolas shows how the wildlife and native inhabitants of the new world were understood and documented by a seventeenth-century European and makes available fundamental documents in the history and visual culture of early North America.

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.

The history of women and art in Canada has often been celebrated as a story of progress from amateur to professional practice. Rethinking Professionalism challenges this narrative by questioning the assumptions that underlie the category of artistic professionalism, a construct as influential for artistic practice as it has been for art historical understanding. Through a series of in-depth studies, contributors examine changes to the infrastructure of the art world that resulted from a powerful discourse of professionalization that emerged in the late- nineteenth century. While many women embraced this new model, others fell by the wayside, barred from professional status by virtue of their class, their ethnicity, or the very nature of the artworks they produced. The richly illustrated essays in this collection depict the changing nature of the professional paradigm as it was experienced by women painters, photographers, craftspeople, architects, curators, gallery directors, and art teachers. In so doing, they demonstrate the ongoing power of feminist art history to disrupt patterns of thought that have become naturalized and, accordingly, invisible. Going beyond the narratives of recovery or exclusion that the category of professionalism has traditionally encouraged, Rethinking Professionalism explores the very consequences of telling the history of women's art in Canada through that lens. Contributors include Annmarie Adams (McGill University), Alena Buis (Queen's University), Sherry Farrell Racette (University of Manitoba), Cynthia Hammond (Concordia University), Kristina Huneault (Concordia University), Loren Lerner (Concordia University), Lianne McTavish (University of Alberta), Kirk Niergarth (Mount Royal University), Mary O'Connor (McMaster University), Sandra Paikowsky (Concordia University), Ruth B. Phillips (Carleton University), Jennifer Salahub (Alberta College of Art & Design), and Anne Whitelaw (Concordia 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.

Spectacular, scientific, and educational cultural practices were used to establish and define public identities in the British colonies of nineteenth-century Canada. In Visibly Canadian, Karen Stanworth argues that visual representations were the era's primary mode of expressing identity, and shows how the citizenry of Quebec and Ontario was - or was not - represented in the visual culture of the time. Through nine case studies, each representing key moments of identity formation and contestation, Stanworth investigates how a broad range of cultural phenomena, from fine arts to institutional histories to public spectacles, were used to order, resist, and articulate identities within specific social and economic contexts. The negotiation and planning underpinning civic culture are evident in rare moments of compromise such as the surprising proposal from the Saint-Jean-Baptiste Society to merge their annual parade with the celebration of Queen Victoria's Diamond Jubilee in 1897. Equally astounding is the scale of nineteenth-century public spectacles; reenactments of Victorian scenes of war often attracted crowds of upwards of 10,000 people. Illustrated with over fifty images, many unseen for over a century, Visibly Canadian establishes the extraordinary significance of artwork and public spectacles in cutting across language, religion, and class to tell stories of nationhood, belonging, and difference.

House museums act as both sources and suppliers of history. Functioning first as private residences, they are then preserved as commemorative monuments and become living history museums offering theme-based tours led by period-costumed interpreters so that visitors might experience "what it felt like to live back then." In Family Ties, Andrea Terry considers the appeal and relevance of domesticated representations of Victorian material culture in a contemporary multicultural context. Through three case studies, Terry examines Victorian homes that have been repurposed as living history museums that host speculative performances of the past. The credibility of Dundurn Castle in Hamilton, William Lyon Mackenzie House in Toronto, and the Sir George-Étienne Cartier National Historic Site of Canada in Montreal, Terry argues, relies on the belief that architectural monuments and the objects they contain are evidence of the time, culture, nation, or people that produced them. Family Ties connects residential artifacts to performance by examining the Victorian Christmas programs offered annually at each site to demonstrate the complex nuances of living history. Through a detailed exploration of the relationship between heritage, living history, and memory, Family Ties illuminates the effects of institutional interpretations of the past that privilege nationalist myths.

In 1911, when Arthur Goss was hired as Toronto's first official photographer, the city was at a critical juncture. Industry expansion and population growth produced pressing concerns about housing shortages, sanitation, and the health and welfare of citizens. Dispelling popular misconceptions, Picturing Toronto demonstrates that Goss and other photographers did not simply document the changing conditions of urban life – their photography contributed to the development of modern Toronto and shaped its inhabitants. Drawing on archival sources from the early twentieth century, Sarah Bassnett investigates how a range of groups, including the municipal government, social reformers, and the press, used photography to reconfigure the urban environment and constitute liberal subjects. Through a series of case studies, including the construction of the Bloor Viaduct, civic beautification plans, urban reform in "the Ward," immigration and citizenship, and Goss's portrait photography, Bassnett exposes how photographs were at the heart of debates over what the city should look like, how it should operate, and under what conditions it was appropriate for people to live. This lavishly illustrated book is the first study to treat images as vital elements that shaped Toronto's social and political history. Interdisciplinary in its approach, Picturing Toronto displays the complex entanglements between photography and urban modernity.

Somewhere between global and local, the nation still lingers as a concept. National art histories continue to be written – some for the first time – while innovative methods and practices redraw the boundaries of these imagined communities. Narratives Unfolding considers the mobility of ideas, transnationalism, and entangled histories in essays that define new ways to see national art in ever-changing nations. Examining works that were designed to reclaim or rethink issues of territory and dispossession, home and exile, contributors to this volume demonstrate that the writing of national art histories is a vital project for intergenerational exchange of knowledge and its visual formations. Essays showcase revealing moments of modern and contemporary art history in Canada, Egypt, Iceland, India, Ireland, Israel/Palestine, Romania, Scotland, Turkey, and the United Arab Emirates, paying particular attention to the agency of institutions such as archives, art galleries, milestone exhibitions, and artist retreats. Old and emergent art cities, including Cairo, Dubai, New York, and Vancouver, are also examined in light of avant-gardism, cosmopolitanism, and migration. Narratives Unfolding is both a survey of current art historical approaches and their connection to the source: art-making and art experience happening somewhere.

Somewhere between global and local, the nation still lingers as a concept. National art histories continue to be written – some for the first time – while innovative methods and practices redraw the boundaries of these imagined communities. Narratives Unfolding considers the mobility of ideas, transnationalism, and entangled histories in essays that define new ways to see national art in ever-changing nations. Examining works that were designed to reclaim or rethink issues of territory and dispossession, home and exile, contributors to this volume demonstrate that the writing of national art histories is a vital project for intergenerational exchange of knowledge and its visual formations. Essays showcase revealing moments of modern and contemporary art history in Canada, Egypt, Iceland, India, Ireland, Israel/Palestine, Romania, Scotland, Turkey, and the United Arab Emirates, paying particular attention to the agency of institutions such as archives, art galleries, milestone exhibitions, and artist retreats. Old and emergent art cities, including Cairo, Dubai, New York, and Vancouver, are also examined in light of avant-gardism, cosmopolitanism, and migration. Narratives Unfolding is both a survey of current art historical approaches and their connection to the source: art-making and art experience happening somewhere.

From the Roaring Twenties and the Group of Seven to the Automatistes and the early Cold War, Canadian artists lived through and embodied an era of global tumult and change. With an interweaving of historical narrative, lavish illustrations, and writings by many of Canada's most revered cultural figures, Lora Senechal Carney illuminates the lives, perspectives, and works of the era's painters and provides glimpses of the sculptors, poets, dancers, critics, and filmmakers with whom they associated. Canadian Painters in a Modern World gives readers direct access to a carefully curated selection of writings, artworks, photos, and other documents that help to reconstruct the public spheres in which artists including Paul-Émile Borduas, Emily Carr, Alex Colville, Lawren Harris, David Milne, and Pegi Nicol MacLeod circulated. Each of the book's eight chapters consists of a narrative about a key issue or debate, focusing on the relationship of art to politics and society, and on how these are negotiated in an individual's life. Relating artistic engagement with and responses to the Spanish Civil War, the Second World War, and the Cold War, Senechal Carney discovers a common desire for new connections between art and life. Revealing continuities, ruptures, and watershed moments, Canadian Painters in a Modern World showcases artistic production within specific socio-political contexts to shed new light on Canadian art during three decades of conflict and crisis.

Museums are frequently sites of struggle and negotiation. They are key cultural institutions that occupy an oftentimes uncomfortable place at the crossroads of the arts, culture, various levels of government, corporate ventures, and the public. Because of this, museums are targeted by political action but can also provide support for contentious politics. Though protests at museums are understudied, they are far from anomalous. Tear Gas Epiphanies traces the as-yet-untold story of political action at museums in Canada from the early twentieth century to the present. The book looks at how museums do or do not archive protest ephemera, examining a range of responses to actions taking place at their thresholds, from active encouragement to belligerent dismissal. Drawing together extensive primary-source research and analysis, Robertson questions widespread perceptions of museums, strongly arguing for a reconsideration of their role in contemporary society that takes into account political conflict and protest as key ingredients in museum life. The sheer number of protest actions Robertson uncovers is compelling. Ambitious and wide-ranging, Tear Gas Epiphanies provides a thorough and conscientious survey of key points of intersection between museums and protest – a valuable resource for university students and scholars, as well as arts professionals working at and with museums.