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.
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.
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.
This entry presents an overview of Québec cinema, from its beginnings in the silent film era to the burgeoning of a distinctly Québec cinema in the 1960s and 1970s, from the explosion that followed Denys Arcand’s Le déclin de l’empire américain (1986) to the setback that followed 10 years later and the new wave of filmmaking emerging at the beginning of the 21st century.
Since the Stratford Festival is the model for the Atlantic Theatre Festival, Bawtree invited Michael Langham, former Stratford artistic director, to direct Kentville native Peter Donat in the Festival's first performance of Shakespeare's The Tempest, which opened on 16 June 1995.
On 3 February 1916 fire broke out on Parliament Hill in Ottawa. The following morning all that remained of the Centre Block (1859) was the famous pinnacled library and a few walls of rubble. Canada was at war with Germany, its citizens in uniform, but replacement began almost immediately.