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.
Centaur Theatre began with an annual budget of $120 000, leasing a 220-seat auditorium in the Old Stock Exchange building at 453 St. François-Xavier Street in Old Montréal. In 1974, the company purchased this historic building and spent $1.3 million in renovations designed by architect Victor PRUS.
In the seaside town that the movie industry turns into Babylon on the Riviera for two weeks each May, almost nothing comes as a shock. No one, however, was quite prepared for Cronenberg's Crash - an utterly bizarre movie about characters who have an erotic addiction to crashing cars.
English-language theatre in the Province of Québec in the late 18th and early 19th centuries was not confined to ALLEN'S COMPANY OF COMEDIANS. Other troupes, whose members came from theatre traditions in Britain and the continent, travelled to Québec via Albany or Boston in the United States.