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In that moment, I felt closer to whiteness than not. I was completely complicit and didn?t think twice about entering a space that could cover their walls with images of contemporary Indigenous perspectives, but exclude their physical bodies from entering and experiencing. In that moment, I felt like a real Canadian. Before I Was a Critic I Was a Human Being is the debut collection of nonfiction essays by Amy Fung. In it, Fung takes a closer examination at Canada's mythologies of multiculturalism, settler colonialism, and identity through the lens of a national art critic. Following the tangents of a foreign-born perspective and the complexities and complicities in participating in ongoing acts of colonial violence, the book as a whole takes the form of a very long land acknowledgement. Taken individually, each essay roots itself in the learning and unlearning process of a first generation settler immigrant as she unfurls each region's sense of place and identity Praise for Before I Was a Critic I Was a Human Being: ?The hours I've spent with this knowing and moving book about place and placelessness are among the most valuable of my reading life. Wow, thank you, Amy." --Eileen Myles "As an Indigenous/Haudenosaunee writer and reader, I recognize that Amy Fung's book does not try to convince us that she is a native rights ally but shows us with language how to mould the term ally into a verb." --Janet Rogers, author of Totem Poles and Railroads "In this compelling work, Amy Fung breathes life and relevance into criticality. This visitor's guide is integral reading." --Cecily Nicholson, author of Wayside Sang, winner of the Governor General's Literary Award for Poetry.
The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.
Beginning in 1912, Defiant Spirits traces the artistic development of Tom Thomson and the future members of the Group of Seven, Franklin Carmichael, Lawren Harris, A. Y. Jackson, Franz Johnston, Arthur Lismer, J. E. H. MacDonald, and Frederick Varley, over a dozen years in Canadian history. Working in an eclectic and sometimes controversial blend of modernist styles, they produced what an English critic celebrated in the 1920s as the “most vital group of paintings” of the 20th century. Inspired by Cézanne, Van Gogh and other modernist artists, they tried to interpret the Ontario landscape in light of the strategies of the international avant-garde. Based after 1914 in the purpose-built Studio Building for Canadian Art, the young artists embarked on what Lawren Harris called “an all-engrossing adventure”: travelling north into the anadian Shield and forging a style of painting appropriate to what they regarded as the unique features of Canada’s northern landscape. Rigorously researched and drawn from archival documents and letters, Defiant Spirits constitutes a “group biography,” reconstructing the men’s aspirations, frustrations and achievements. It details not only the lives of Tom Thomson and the members of the Group of Seven but also the political and social history of Canada
The study of children's illustrated books is located within the broad histories of print culture, publishing, the book trade, and concepts of childhood. An interdisciplinary history, Picturing Canada provides a critical understanding of the changing geographical, historical, and cultural aspects of Canadian identity, as seen through the lens of children's publishing over two centuries. Gail Edwards and Judith Saltman illuminate the connection between children's publishing and Canadian nationalism, analyse the gendered history of children's librarianship, identify changes and continuities in narrative themes and artistic styles, and explore recent changes in the creation and consumption of children's illustrated books. Over 130 interviews with Canadian authors, illustrators, editors, librarians, booksellers, critics, and other contributors to Canadian children's book publishing, document the experiences of those who worked in the industry. An important and wholly original work, Picturing Canada is fundamental to our understanding of publishing history and the history of childhood itself in Canada.
This title examines the motivations for the critiques that have been applied to the idea of aesthetics and argues that theorists and artists now hunger for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. The book shows how, for decades, aesthetic critiques have often concerned art's treatment of beauty or the autonomy of art. Collectively, these critiques have generated an anti-aesthetic stance that is now prevalent in the contemporary art world.
Hailed as a landmark in Canadian literary scholarship when it was originally published in 1965, the Literary History of Canada is now being reissued, revised and enlarged, in three volumes. This major effort of a large group of scholars working in the field of English-language Canadian literature provides a comprehensive, up-to-date reference work. It has already proven itself invaluable as a source of information on authors, genres, and literary trends and influences. It represents a positive attempt to give a history of Canada in terms of writings which deserve attention because of significant thought, form, and use of language. Volume 3 has been newly written for this edition of the History, and covers the years from about 1960 to 1974. The contributors to this volume are Claude Bissell, Desmond Pacey, Lauriat Lane, jr, Michael S. Cross, Thomas A. Goudge, John Webster Grant, John H. Chapman, William E. Swinton, Henry B. Mayo, Malcolm Ross, Brandon Conron, Clara Thomas, Sheila A. Egoff, John Ripley, William H. New, George Woodcock, and Northrop Frye.
This collection of essays and discussions examines the role of judgment in art writing within the context of a renewed interest in the efficacy and function of contemporary art criticism.