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 Eaton Centre, Toronto (designed by the Zeidler Partnership and Bregman and Hamann, phase 1 opening in 1977, phase 2 in 1979) is the epitome of those vast multistorey interior "atrium" spaces for which Canadian architecture became known internationally in the 1970s. The centre comprises The T.
The Vancouver Playhouse adopted the standard program pattern for regional theatres in Canada - a September to May season of about 6 plays that were mainly recent London and Broadway successes with a few classics included. From as early as 1966, every season featured at least one Canadian play.
The creation of the National Film Board of Canada (NFB) is the central event in the history of Canadian cinema. The NFB has pioneered developments in social documentary, animation, documentary drama and direct cinema; and it has been a continuing initiator of new technology.