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Innovative and diverse artworks by artists from across the country and beyond are featured in this fourth edition of the Canadian Biennial. Richly illustrated with dozens of colour plates, the publication provides individual presentations on each artist as well as a comprehensive scholarly text. The author looks at the dynamic ways in which artists engage with the increasingly globalized world of contemporary art through a wide range of media including painting, sculpture, photography, drawing, printmaking, video and installation-based practices. Migration, the impact and interpretation of history and belief systems on contemporary art and culture, stereotypes of identity and nationhood, and the emancipatory potential of the imagination and creativity, are some of the themes and subjects addressed in a Biennial that reflects the Gallery¿s pursuits in building an outstanding and pertinent collection of art today. Jonathan Shaughnessy is Associate Curator of Contemporary Art at the National Gallery of Canada. In English and French. Participating artists: Barry Ace, John Akomfrah, Benoit Aquin, Shuvinai Ashoona, BGL, Valérie Blass, Shannon Bool, Shary Boyle, Mark Bradford, Anthony Burnham, Nick Cave, Patrick Coutu, Chris Curreri, Beau Dick, Stan Douglas, Jessica Eaton, Latifa Echakhch, Tracey Emin, Cynthia Girard-Renard, Andreas Gursky, Thomas Houseago, Christian Jankowski, Brian Jungen, Shelagh Keeley, Ruben Komangapik, Jonathan Lasker, lessLIE, Maya Lin, Elaine Ling, Angela Marston, Kent Monkman, Wangechi Mutu, Nadia Myre, Chris Ofili, Jamasee Padluq Pitseolak, Susan Point, Mika Rottenberg, Collier Schorr, Ursula Schulz-Dornburg, Wael Shawky, Steven Shearer, Taryn Simon, Kiki Smith, Monika Sosnowska, Zin Taylor, Mickalene Thomas, Wolfgang Tillmans, Jutai Toonoo, Renée Van Halm, Waheed, Daniel Young and Christian Groulx.
This is the third Environmental Performance Review of Canada. It evaluates progress towards sustainable development and green growth, with special features on climate change mitigation and urban wastewater management.
In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled The Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. Whitewalling: Art, Race & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak? Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.
Despite the common belief that art galleries will naturally become more gender equitable over time, the fact is that many art institutions in Canada have become even less so over the last decade, with female artists making up less than 25 per cent of the contemporary exhibitions of several major galleries. In the first large-scale overview of gender diversity in Canadian art exhibitions, Anne Dymond makes a persuasive plea for more consciously equitable curating. Drawing on data from nearly one hundred institutions, Diversity Counts reveals that while some galleries are relatively equitable, many continue to marginalize female and racialized artists. The book pursues an interdisciplinary approach, considering the art world's resistance to numeric data, discourses on representation and identity, changing conceptualizations of institutional responsibility over time, and different ways particular institutions manage inclusion and exclusion. A thoughtful examination of the duty of public galleries to represent underserved communities, Dymond's study bravely navigates the unspoken criteria for acceptance in the curatorial world. Demonstrating how important hard data is for inclusivity, Diversity Counts is a timely analysis that brings the art world up to date on progressive movements for social transformation.
Canadian Foreign Policy, as an academic discipline, is in crisis. Despite its value, CFP is often considered a “stale and pale” subfield of political science with an unfashionably state-centred focus. Canadian Foreign Policy asks why. Practising scholars investigate how they were taught to think about Canada and how they teach the subject themselves. Their inquiry shines a light on issues such as the casualization of academic labour and the relationship between study and policymaking. This nuanced collection offers not only a much-needed assessment of the boundaries, goals, and values of the discipline but also a guide to its revitalization.
The Canadian Almanac & Directory is the most complete source of Canadian information available - cultural, professional and financial institutions, legislative, governmental, judicial and educational organizations. Canada's authoritative sourcebook for almost 160 years, the Canadian Almanac & Directory gives you access to almost 100,000 names and addresses of contacts throughout the network of Canadian institutions.
Canada has over-promised and under-delivered on climate change, setting weak goals and allowing carve-outs, exceptions, and exemptions to undermine its climate policies. Why, in an era when climate change is front of mind for so many people, have we failed to make progress? This question has been the source of heated debate across the political spectrum. In Picking Up the Slack, Andrew Green draws together different perspectives on the challenge facing Canada to offer an accessible account of the ideas and institutions that have impeded climate change action. Picking Up the Slack embraces the complexity of the problem, showing that its sources lie deep in Canada’s institutional arrangements – pointing to the role played by federal-provincial power sharing arrangements, the heavy reliance on discretion in Canadian law, the role of the courts, and the impact of social norms. Working from a broad perspective that incorporates the insights of economics, law, political science, and philosophy, Green unpacks the features of Canadian policy making that determine the successes and failures of climate policies. His message is ultimately optimistic: Picking Up the Slack sheds light on how we can bring about meaningful movement towards a fair and positive future.
Why has Canada been unable to achieve any of its climate-change targets? Part of the reason is that emissions in two provinces, Alberta and Saskatchewan – already about half the Canadian total when taken together – have been steadily increasing as a result of expanding oil and gas production. Declining emissions in other provinces, such as Ontario, Quebec, Nova Scotia, and New Brunswick, have been cancelled out by those western increases. The ultimate explanation for Canadian failure lies in the differing energy interests of the western and eastern provinces, overlaid on the confederation fault-line of western alienation. Climate, energy, and national unity form a toxic mix. How can Ottawa possibly get all the provinces moving in the same direction of decreasing emissions? To answer this question, Douglas Macdonald explores the five attempts to date to put in place coordinated national policy in the fields of energy and climate change – from Pierre Trudeau’s ill-fated National Energy Program to Justin Trudeau’s bitterly contested Pan-Canadian program – analysing and comparing them for the first time. Important new insights emerge from this analysis which, in turn, provide the basis for a new approach. Carbon Province, Hydro Province is a major contribution to the vital question of how our federal and provincial governments can effectively work together and thereby for the first time achieve a Canadian climate-change target.
This book comprises the proceedings of the Annual Conference of the Canadian Society of Civil Engineering 2021. The contents of this volume focus on specialty conferences in construction, environmental, hydrotechnical, materials, structures, transportation engineering, etc. This volume will prove a valuable resource for those in academia and industry.
This volume examines the history and current state of Canadian studies in a number of countries and regions across the world, including Canada's major trading partners. From the mid-1980s until 2012, Canadian studies was seen as an important tool of soft power, increasing awareness of Canadian culture, institutions and history. The abrupt termination in 2012 of the Canadian government's financial support for these activities triggered a debate that is still ongoing about the benefits that may have flowed from this support and whether the decision should be reversed. The contributors to this book focus on the process whereby Canadian studies became institutionalized in their respective countries and on the balance between what might be described as Canadian studies for its own sake versus Canadian studies as a deliberate instrument of cultural diplomacy.