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 classic definition of studio pottery is the hand-production of everyday pots for everyday life. Anti-industry, the movement emerged in Canada during the 1940s founded, for the most part, by European émigrés. Many of them were husband-and-wife partnerships operating across rural Canada.
Lyman did not conceive of the CAS as an exhibiting organization, but many members realized that by banding together it would be easier to get exhibition space and to lobby for attention at the conservative Art Association of Montreal (now the Musée des beaux-arts de Montréal).