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 process will vary in complexity and in the length of time it takes to complete the facility. The project may be divided into a number of subprojects, but each of these will roughly follow the stages outlined above. The knowledge and expertise required at each stage also varies.
In 1964, actors Françoise Graton, Gilles Pelletier and director Georges Groulx convinced the Jesuit school responsible for Le Théâtre du Gesù (a congenial amphitheatre) to finance their production of Racine's Iphigénie. Their idea was to produce a play that was part of the school curriculum.
The Canadian musical, like Canadian film, has always suffered in the public eye by comparison with its larger, more affluent American counterpart. The American musical, with its emphasis on extravagant production, has been the most successful commercial theatrical form of the 20th century.
The interior explains the unfamiliar shape; the entrance wall spirals inward past a circular baptistery to shield a broad, shadowed sanctuary under the downward billowing concrete vault. Two concrete cylinders descend from the vault to shed natural light on the altar and tabernacle areas.
The Royal Alexandra Theatre, Toronto, completed in 1907 at a cost of $750 000, is one of the few surviving large professional theatres found in numerous Canadian cities at the turn of the century. It was designed by John LYLE in 1906 for a group of prominent businessmen headed by Cawthra Mulock.
Winnipeg's Contemporary Dancers is Canada's longest operating modern dance company. WCD, a company of about 10 dancers, traces its roots to a student group formed in 1964 by former ROYAL WINNIPEG BALLET dancer Rachel BROWNE. It was recognized as fully professional by 1971.
Visible from everywhere in St. John's, Newfoundland, and, so important in the 19th century, the most striking building as one entered the harbour, the Basilica of St. John the Baptist was built to assert the place and power of Newfoundland's Irish Catholic population.
Architecture under the French colonial regime was characterized less by its achievements than by its unfulfilled ambitions. Caught between ideals nurtured in France during the classical period and the harsh climate of New France, architecture gradually came to reflect local resources.