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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.
A Canadian bestseller and winner of the 2016 Canadian Historical Association Aboriginal History Book Prize, Unsettling Canada is a landmark text built on a unique collaboration between two First Nations leaders. Arthur Manuel (1951–2017) was one of the most forceful advocates for Indigenous title and rights in Canada; Grand Chief Ron Derrickson, one of the most successful Indigenous businessmen in the country. Together, they bring a fresh perspective and bold new ideas to Canada’s most glaring piece of unfinished business: the place of Indigenous peoples within the country’s political and economic space. This vital second edition features a foreword by award-winning activist Naomi Klein and an all-new chapter co-authored by Law professor Nicole Schabus and Manuel’s daughter, Kanahus, honouring the multi-generational legacy of the Manuel family’s work.
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).
In The Practice of Her Profession, Susan Butlin draws on unpublished letters and family memoirs to recount Carlyle's personal and professional life. She explores Carlyle's artistic influences, her relationships with artist colleagues and encounters with the cultural worlds of Paris, New York, and early twentieth-century Canada, and provides a detailed examination of Carlyle's paintings. Butlin's vivid description of the artistic life of women of this era, from access to art training to the important role of women's art societies, introduces readers to Carlyle's many accomplished contemporaries - Helen McNicoll, Mary Reid, Laura Muntz, Sarah Holden, Sydney Tully, Elizabeth McGillivray Knowles, and others.
A natural history and illustrations of the New World in the seventeenth century.
Considering a wide range of craftspeople, materials, and forms, The Allied Arts investigates the history of the complex relationship between craft and architecture by examining the intersection of these two areas in Canadian public buildings.
Settling and Unsettling Memories analyses the ways in which Canadians over the past century have narrated the story of their past in books, films, works of art, commemorative ceremonies, and online. This cohesive collection introduces readers to overarching themes of Canadian memory studies and brings them up-to-date on the latest advances in the field. With increasing debates surrounding how societies should publicly commemorate events and people, Settling and Unsettling Memories helps readers appreciate the challenges inherent in presenting the past. Prominent and emerging scholars explore the ways in which Canadian memory has been put into action across a variety of communities, regions, and time periods. Through high-quality essays touching on the central questions of historical consciousness and collective memory, this collection makes a significant contribution to a rapidly growing field.
Unsettling Encounters radically re-examines Emily Carr's achievement in representing Native life on the Northwest Coast, and her goals and achievements in representing Native villages and totem poles in her paintings and writings. Reconstructing a neglected body of Carr's works that was central in shaping her vision and career makes possible a new assessment of her significance as a leading figure in the history of early twentieth-century Modernism. Unsettling Encounters includes a vivid recreation of the rapidly changing historical and social circumstances in which Carr painted and wrote. She lived and worked in British Columbia at a time when the growing settler population was rapidly taking over and developing the land and its resources. Gerta Moray argues that Carr's work takes on its full significance only when it is seen as a conscious intervention in settler-Native relations. She examines the work in relation to the images of Native peoples that were then being constructed by missionaries and anthropologists and exploited by the promoters of world's fairs and museums. Carr's famous, highly expressive later paintings were based to a great extent on the results of her early experience. At the same time they were a response to new currents in North American culture in the 1920s and 1930s. Moray explores Carr's participation in the Group of Seven's agenda to build a national culture and her sense of her own position as a woman artist in this masculine arena. Unsettling Encounters is the definitive study of Carr's "Indian" images, locating them both within the local context of Canadian history and the wider international currents of visual culture.
In 2008 the Canadian government apologized to the victims of the notorious Indian residential school system, and established a Truth and Reconciliation Commission whose goal was to mend the deep rifts between Aboriginal peoples and the settler society that engineered the system. Unsettling the Settler Within argues that in order to truly participate in the transformative possibilities of reconciliation, non-Aboriginal Canadians must undergo their own process of decolonization. They must relinquish the persistent myth of themselves as peacemakers and acknowledge the destructive legacy of a society that has stubbornly ignored and devalued Indigenous experience. Today’s truth and reconciliation processes must make space for an Indigenous historical counter-narrative in order to avoid perpetuating a colonial relationship between Aboriginal and settler peoples. A compassionate call to action, this powerful book offers all Canadians – both Indigenous and not – a new way of approaching the critical task of healing the wounds left by the residential school system.
This companion consists of chapters that focus on and bring forward critical theories and productive methodologies for Indigenous art history in North America. This book makes a major and original contribution to the fields of Indigenous visual arts, professional curatorial practice, graduate-level curriculum development, and academic research. The contributors expand, create, establish and define Indigenous theoretical and methodological approaches for the production, discussion, and writing of Indigenous art histories. Bringing together scholars, curators, and artists from across the intersecting fields of Indigenous art history, critical museology, cultural studies, and curatorial practice, the companion promotes the study and dissemination of Indigenous art and stimulates new conversations on such key areas as visual sovereignty and self-determination; resurgence and resilience; land-based, embodied, and nation-specific knowledges; epistemologies and ontologies; curatorial and museological methodologies; language; decolonization and Indigenization; and collaboration, consultation, and mentorship.