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Archaeological digs have turned up sculptures in Inuit lands that are thousands of years old, but "Inuit art" as it is known today only dates back to the beginning of the 1900s. Early art was traditionally produced from soft materials such as whalebone, and tools and objects were also fashioned out of stone, bone, and ivory because these materials were readily available. The Inuit people are known not just for their sculpture but for their graphic art as well, the most prominent forms being lithographs and stonecuts. This work affords easy access to information to those interested in any type of Inuit art. There are annotated entries on over 3,761 articles, books, catalogues, government documents, and other publications.
Drawing attention to the ways in which creative practices are essential to the health, well-being, and healing of Indigenous peoples, The Arts of Indigenous Health and Well-Being addresses the effects of artistic endeavour on the “good life”, or mino-pimatisiwin in Cree, which can be described as the balanced interconnection of physical, emotional, spiritual, and mental well-being. In this interdisciplinary collection, Indigenous knowledges inform an approach to health as a wider set of relations that are central to well-being, wherein artistic expression furthers cultural continuity and resilience, community connection, and kinship to push back against forces of fracture and disruption imposed by colonialism. The need for healing—not only individuals but health systems and practices—is clear, especially as the trauma of colonialism is continually revealed and perpetuated within health systems. The field of Indigenous health has recently begun to recognize the fundamental connection between creative expression and well-being. This book brings together scholarship by humanities scholars, social scientists, artists, and those holding experiential knowledge from across Turtle Island to add urgently needed perspectives to this conversation. Contributors embrace a diverse range of research methods, including community-engaged scholarship with Indigenous youth, artists, Elders, and language keepers. The Arts of Indigenous Health and Well-Being demonstrates the healing possibilities of Indigenous works of art, literature, film, and music from a diversity of Indigenous peoples and arts traditions. This book will resonate with health practitioners, community members, and any who recognize the power of art as a window, an entryway to access a healthy and good life.
Craft practice has a rich history and remains vibrant, sustaining communities while negotiating cultures within local or international contexts. More than two centuries of industrialization have not extinguished handmade goods; rather, the broader force of industrialization has redefined and continues to define the context of creation, deployment and use of craft objects. With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls? Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization, whether inspired by a calculated refutation of industrial sameness, an essential means to sustain a cultural community under threat, or a rejection of the imposed definitions by a dominant culture. The broader effects of urbanizing, imperial and globalizing projects shape the multiple contexts of interaction and resistance that can define craft ventures through place and time. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.
Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.
Profiling 400 prominent artists of the 20th century, each entry in this reference includes a biographical profile; lists of exhibitions, public galleries and museums; a bibliography of books and articles by and about the entrant; and presents a critical perspective on the artist's work.
Some fifty years ago, the remote Arctic community of Cape Dorset was introduced to the ancient traditions of Japanese printmaking by a Canadian artist, James Houston, who had studied printmaking in Japan with the revered master printmaker Un'ichi Hiratsuka. The remarkable story of that artistic encounter and its extraordinary results are the focus of this groundbreaking book. With two major essays and detailed captions, it features 49 exquisite and rare artworks (including Inuit prints from 1947 to 1963 and Japanese prints that were brought to Cape Dorset in 1959, as well as never-before-seen works by James Houston), and shows how Cape Dorset graphic artists selectively borrowed and actively transformed Japanese influences. It includes the voice of Cape Dorset printmaker Kananginak Pootoogook, as well as previously unplished historic photographs from Japan and Cape Dorset.
This book charts the developments in Canadian art from the late nineteenth century to the present with new essays by the country's leading art historians. A comprehensive overview, this volume embraces painting, sculpture, photography, design, video, and conceptual and cross-disciplinary art, as well as studies of art institutions and historiography. Each chapter explores the richness and diversity of Canadian art; topics range from impressionist painting to the multimedia work of First Nations artists, and from the Group of Seven to contemporary video production. Newly commissioned, carefully edited, and with 185 full-colour illustrations, The Visual Arts in Canada will appeal to general readers and students alike. An extensive index, as well as an appendix that list galleries and artist-run centres across the country, make this the definitive resource for Canadian art from the past century. Throughout the twenty chapters, readers will recognize favourite artists and encounter new ones-all of whom play an integral role in the country's visual history.