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2031: twelve years after a worldwide meltdown of the internet and national governments. Alberta is one of the only stable societies on the planet. An overseas organization decides to acquire it. The mayor of Calgary's best warrior has a son who's returned from adventuring. He must prove himself in battle to save his province, his family, and his sanity. Zach McKinley returns home from years of war to find his province changing. After the flash decimated the internet and government, rich people are getting richer in post-apocalyptic Alberta as their children behave badly. In fact, they're leading enemy forces straight to them. Combat operators are the backbone of provincial security, and they're being asked to choose between Calgary's mayor and the city's wealthiest families. Those who are loyal are in danger of being banished if the mayor is deposed. The McKinleys would lose everything if the families with most money prevail. And now, the biggest threat to Alberta since the flash wants the resources that keep its people alive. Zach suffers from PTSD and emotional injuries that scar his past. But with his family and his life on the line, he must fight and win or lose his mind.
The story of artists in Western Canada, and how they changed the face of Canadian art “Listen to the visual voices of artists. They tell us so poignantly who we are, what we must cherish, and what we must address as a society.” Patricia Bovey Throughout her remarkable career as a gallery director, curator, and author, Patricia Bovey has tirelessly championed the work of Western Canadian artists. Western Voices in Canadian Art brings this lifelong passion to a crescendo, delivering the most ambitious survey of Western Canadian Art to date. Beginning with the earliest European-trained artists in Western Canada, and moving up to present day, Bovey amplifies the depth, scope, and importance of the diverse artists (both settler and Indigenous) whose distinct voices have contributed to the Western Canadian artistic tradition. Bovey then adopts a thematic approach, richly informed by her knowledge and experience, connecting art and artists through time and across provincial boundaries. Insights from Bovey’s studio visits and conversations with artists enhance our understandings of the history and trajectory of, and impetus for Canadian artistic creation. Lavishly illustrated with over 250 works reproduced in full colour, Western Voices in Canadian Art is a book that needs to be seen, and its artists and art celebrated.
One of Canada's most evocative modern painters, Cree artist Dale Auger was a gifted interpreter of First Nations culture, using the cross-cultural medium of art to portray scenes from the everyday to the sacred and dissemble stereotypes about Indigenous peoples. Medicine Paint is a collection of Auger's best work, reproduced in glorious full colour and reflecting the evolution of the artist's distinctive style. Including a revealing look back at his life and professional development, the book is a stunning tribute to the master Aboriginal artist. Auger uses bold, bright colours in his oil paintings to explore the intricate links between spirituality and the natural laws of the land. Birds, beasts and human forms are carried from the dreamworld onto canvas, their spirits channeled through his paintbrush and presented in brilliant yellows, mystic blues, vibrant reds and swirls of black. Infusing his subjects with energy, life and colour, Dale Auger masterfully presents scenes that are powerful, spiritual and inspiring. A bald eagle is majestic in flight against a bright blue sky. An elder makes a solemn offering to the Sky Being. Horses dance playfully in the frame for a sweat lodge. A warrior draws his bow and points it skyward.
This book investigates the meanings and iconography of the Stampede: an invented tradition that takes over the city of Calgary for ten days every July. Since 1912, archetypal "Cowboys and Indians" are seen again at the chuckwagon races, on the midway, and throughout Calgary. Each essay in this collection examines a facet of the experience – from the images on advertising posters to the ritual of the annual parade. This study of the Calgary Stampede as a social phenomenon reveals the history and sociology of the city of Calgary and a component of the social construction of identity for western Canada as a whole.
Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.
While blood quantum laws have been used to determine an individual's inclusion in a Native group, Eiteljorg fellowship artists have instead come to view themselves as belonging to the "Art Tribe," through the universal process of art creation and collaboration. Art Quantum presents a selection of the extraordinary work created by the five artists selected for the 2009 Eiteljorg Fellowship. In his essay on the long career of Edward Poitras (Gordon First Nation), Alfred Young Man (Cree) places Poitras's installations in the context of Métis and Indian identity as well as the White art establishment in Canada. Gail Tremblay (Onondaga / Micmac) illuminates the work of Jim Denomie (Ojibwa), reading his narrative paintings and intimately scaled portraits through their complex and humorous references to history, art history, and current events. Jimmie Durham (Cherokee) uses the analogy of music to explore the language of abstraction in sculptural and two-dimensional works by Jeffrey Gibson (Mississippi Band of Choctaw / Cherokee), while the subtle and often monochromatic sculptural installations of Faye HeavyShield (Kainai-Blood) are sensitively interpreted by Lee-Ann Martin (Mohawk). The volume closes with Polly Nordstrand's (Hopi / Norwegian) reflection on the themes of longing/not belonging and placement/displacement that Wendy Red Star (Crow) documents in her photographs and appliquéd dance shawls. It is the goal of the Eiteljorg Fellowship to be a starting point and a platform for exploration of Native identity and artistic expression beyond the concepts of blood quantum laws. Essays by James Nottage, Jennifer Complo McNutt, Ashley Holland (Cherokee), and Paul Chaat Smith (Comanche) help to situate the larger issue of Native identity in the contemporary art world.
David More is one of western Canada's exceptional painters. Based in the rural hamlet of Benalto, near Red Deer Alberta, he is part of a generation of landscape artists who emerged in the 1970s to make beauty out of the ordinary and challenge the expected with bold acts of creation. Throughout his career, More has returned to the garden as a deeply functional yet ritualistic space of human endeavour. The garden is a place of shelter and sanctuary, of colour and fragrance, of order and wilderness. The garden is a private space, carefully tended and planted, observed en plein air or through the living-room window. The garden is a public space, a park where people gather to let their natures blossom. The garden is the world, the nature that sustains and surround us, the environment we all live within, and all have a responsibility to cultivate and tend. Greatest Garden is a celebration of David More's engagement with the garden as a multifaceted subject. Featuring over fifty original artworks, this book encompasses a career spent in conversation with gardens in their many and varied forms. With lively brushwork, a keen sense of colour, and an aptitude for expressive drawing and varied composition, More has found the garden in expected and unexpected places. In Greatest Garden you are welcomed to walk its sunlit paths.
"Roy De Forest's brightly colored, crazy-quilted jungles dotted with nipples of paint and inhabited by a cast of characters uniquely his own (a perennial favorite being his wild-eyed, pointy-eared dogs) appeal to a broad spectrum of viewers from young to old, from the casual visitor to the most sophisticated art aficionado. OMCA's project aims to reassess De Forest's art-historical position, placing him in a national rather than solely regional/West Coast context. Landauer positions De Forest as part of a bicoastal alternative current of American art that has been poorly documented and deliberately ran counter to better publicized tendencies of the 1960s and 1970s, notably Pop, Minimalism, and post-painterly abstraction. Despite the playfulness of his work, close study of De Forest's art reveals deep layers of meaning. He was a fan of popular science fiction and adventure stories, but he was also well versed in Australian aboriginal art, ukiyo-e prints, poetry, literature, and the history of philosophy. He enjoyed secreting obscure art-historical references into his work: animals might assume postures found in Medieval or Renaissance art, or a drawing that appears to depict a comic-book character may in fact refer to Titian's triple-headed allegory of Prudence. This engaging publication presents gorgeous color reproductions of 150 of De Forest's finest artworks, plus a variety of figure illustrations that illuminate the artist's diverse sources and freewheeling social and creative milieu in Northern California."--Provided by publisher.
In the early twenty first century, there was series of small battles called The Heretic Wars. After the wars were fought, the world remained virtually unchanged, with the exception of one individual. The Justice Chronicles are five short stories following the sole survivor of the three elite military units The Blades of God. Wandering through the Canadian bush, this surivior deals justice where he sees the unjust. And it is an unjust world indeed. The other short stories touch base on a wide vatiety of topics. They will scare you, make you laugh, and may even make you cry. Either way, enjoy the read.