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 'Royal Alex,' as it is known affectionately, was designed by John Lyle who, using New York's New Amsterdam Theater as a model, incorporated novel features such as air conditioning which required tons of ice and.9 m-thick concrete floors which made it Canada's first fireproof theatre.
The programming signature of the festival is one of cutting-edge contemporary dance by culturally diverse artists, highlighting work that is physically visceral, visually stimulating and thought provoking, in a balance of international, Canadian and local artists.
Ursuline Convent, Québec City. First occupying this site in 1642 under the leadership of MARIE DE L'INCARNATION (who had established a convent first in the lower town in 1639), the Ursuline Sisters gradually (1686-1902) erected this complex of buildings dedicated to the education of young girls.
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.