Indigenous peoples of the Arctic have been making art for thousands of years. In this exhibit, we will look at an ancient artifact fashioned by unknown hands, the work of the first generation of Inuit artists, and two contemporary Inuit artists whose work has become part of the international art world.
For most contemporary art critics, the term “decorative” is pejorative, implying that a work, while perhaps pretty, lacks content and depth. The decorative arts, it is commonly assumed, have two features that are at odds with what we think of as fine art: decorative art is typically associated with function – glasses, plates, bowls, jars, carpets, clothes – and its purpose is to project a style or mood rather than to transmit meaning and incite dialogue.
This Collection explores visual arts in Canada through articles, photo galleries, Heritage Minutes and more, and is presented in partnership with Charles Bronfman’s Claridge Collection. Above image: Untitled. Acrylic on canvas, painted by Max Johnson. Courtesy of the Charles Bronfman's Claridge Collection.
The transfer of art from the artist's workshop to the various concerned publics takes place through the usual communication routes (the press, radio, television), as well as through channels specific to the artistic domain: museums, galleries, specialised journals.
Perhaps more than any other art form, filmmaking is a collaborative art. Although in our celebrity-obsessed culture the actors or "stars" get the lion's share of attention, by the time any film reaches the screen, hundreds of craftspeople have had a hand in getting it there.
Theatrical dance is an art of fusion. Movement, its essential substance, exists only as interpreted through the human body. Choreographic visions are almost always enhanced by costumes, decor and lighting, and animated by music or a soundscape. Movement itself has been rooted in cultural traditions.