DOCSLIB.ORG

Inanna Publications & Education Inc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inanna Publications & Education Inc Inanna Publications & Education Inc. Celebrating Over 42 Years of Smart books for Feminist Publishing people who want Inanna Publications & Education Inc. is one of only a very few independent feminist presses in Canada committed to publishing fiction, poetry, and cre- to read and think ative non-fiction by and about women, and complementing this with relevant about real non-fiction. Inanna’s list fosters new, innovative and diverse perspectives with the potential to change and enhance women’s lives everywhere. Our aim is women’s lives. to conserve a publishing space dedicated to feminist voices that provoke discussion, advance feminist thought, and speak to diverse lives of women. Founded in 1978, and housed at York University since 1984, Inanna is the proud publisher of one of Canada’s oldest feminist journals, Canadian Wom- an Studies/les cahiers de la femme. Our priority is to publish literary books, particularly by fresh, new Canadi- an voices, that are intellectually rigorous, speak to women’s hearts, and tell truths about the vital lives of a broad diversity of women—smart books for people who want to read and think about real women’s lives. Inanna books are important resources, widely used in university courses across the country. Our books are essential for any curriculum and are indispensable Fall 2020 resources for the feminist reader. Inanna Publications & Education Inc. C O N T E N T S FALL 2020 FRontLIST: INANNA POETRY AND FICTIon SERIES 2 FALL 2020 FRontLIST: INANNA MEMOIR SERIES 14 FALL 2020 FRontLIST: INANNA REPRINT SERIES 16 FALL 2020 FRontLIST: INANNA non-FICTIon 17 INANNA non-FICTIon HIGHLIGHTS 20 Inanna Publications and Education Inc. gratefully acknowledges the support of the Canada Council for the Arts and the Ontario Arts Council for our publishing program, as well as the financial assistance of the Government of Canada. an Ontario government agency un organisme du gouvernement de l’Ontario Fall 2020 www.inanna.ca 2 FALL 2020 FRONTLIST THE NARROWS OF FEAR (WAPAWIKOSCIKANIK) A NOVEL BY CAROL ROSE GOLDENEAGLE The Narrows of Fear (Wapawikoscikanik) navigates the unsettling, but necessary. When love of, and respect for, culture goes awry, it is Indigenous women who bring us back to what is important. This novel is an interweaving of stories centred on a range of characters, both male and female, though the women, for the most part, are the healers. Though several were abused both in their own community and in residential schools, these women are smart and loving and committed to helping one another. They eagerly learn to celebrate their culture, its stories, its dancing, its drums, and its elders. Principal of these elders is Nina, the advisor at the women’s shelter. With the help of Sandy and Charlene, both of whom are educated and courageous, overcoming losses of their own, Nina uses Indigenous practices to heal the traumatized Mary Ann. Indigenous women have always been at the core of healing and leading and learning. Yet, Indigenous women face the same patriarchal standards as women across the globe. It is 978-1-77133-789-2 time to reclaim Indigenous spaces for women: in ceremonies, protocols, and life in general. $22.95 CDN 5.5" X 8.25" PB, 260 PAGES FICTION / SEPTEMBER 2020 This is a very powerful novel—sometimes brutally violent, sometimes healing, sometimes mythical, and always deeply respectful of the Aboriginal culture at its heart. Carol Rose GoldenEagle is Cree and Dene with Carol Rose GoldenEagle is an award-winning Cree/Dene author; three of her books roots in Sandy Bay, northern Saskatchewan. She have won or been recognized for awards. is an award-winning published novelist, poet, playwright, visual artist, and musician. Her works has previously been published using the surname, praise for carol rose goldeneagle’s (formely daniels) earlier work: Daniels. She now chooses to use her traditional “Bearskin Diary effortlessly flowes from sexy to thrilling, spiritual to humorous, name. She is the author of the award-winning novel and is an exciting addition to the canon of contemporary Indigenous literature in Bearskin Diary (2015) and the recently published Canada.” Bone Black (2019). Her debut poetry volume, Hira- —Kenneth T. William, playwright/author of Café Daughter, Thunderstick, and eth, was published in 2018 and was shortlisted for Gordon Winter the 2019 Saskatchewan Book Awards. As a visual artist, her work has been exhibited in art galleries “Bone Black is a spirited story of a Cree woman’s compelling journey through trauma, across Saskatchewan and Northern Canada. As grief, and ultimately vengeance. Carol GoldenEagle’s stirring prose carefully and a musician, a CD of women’s drum songs, in passionately explores the resilience and strength of Indigenous women in the face which Carol is featured, was recently nominated of violence and the ongoing impacts of colonialism. One woman’s path to healing for a Prairie Music Award. Before pursuing her art takes her through the tension in the modern Prairies before taking a dark turn in on a full-time basis, Carol worked as a journalist an unexpected yet gripping twist. It’s a thrilling foray into personal justice.” for more than 30 years in television and radio at —Waubgeshig Rice, author of Moon of the Crusted Snow APTN, CTV, and CBC. She lives in Regina Beach, Saskatchewan. Promotional Plans • Toronto, Saskatoon, Regina, Vancouver and Victoria launches/readings • Promotional bookmarks • Review copy mailing / submissions to reading series • Ads in trade and literary magazines INANNA POETRY AND FICTION SERIES 3 THE RAGE ROOM A NOVEL BY LISA DE NIKOLITS What if you made the worst mistake of your life and got the chance to fix it? Only you made it so much worse? From the incomparable crafter of nine cross-genre works of fiction, Lisa de Nikolits expands her horizons to pen a grab-you-by-the-throat, feminist speculative-fiction thriller in the style of Groundhog Day meets The Matrix. The perfect father kills his family on Christmas Eve, and tries to undo his actions by jumping back in time. The result is murder and mayhem in dystopia. Set in 2055, the world is run by robots and virtual data, while the weather is controlled by satellite dishes. Arts and culture are no more than distant memories. People are angry, placated by prescribed visits to rage rooms to vent their boredom, fury, and discontent. Beneath the sunny skies and behind the garbage-free suburban McMansions live deeply disturbed, materialistic families. During his time travels and increasingly desperate attempts to reverse his colossal mistake, Sharps Barkley meets the leader of the Eden Collective, a feminist army determined to save the Earth by removing all artificial intelligence and letting the Earth restore itself—if 978-1-77133-777-9 necessary, at the expense of mankind. The Eden Collective uses data gathered from the rage $22.95 CDN 5.5" X 8.25" PB, 300 PAGES rooms to analyze and predict the potential and actions needed for the Earth to reset and FICTION / SEPTEMBER 2020 they need to prove that time travel is an effective tool. If Sharps can go back and save his children, then there is hope for the future. Sharps is the 49th experiment and his success is pivotal. Can love prevail over anger? The Rage Room has a multi-layered plot that is fueled by a feminist-driven courage to take Originally from South Africa, Lisa de charge and save the world as it exposes the effects of an increasingly digital age on our lives Nikolits is an award-winning author and, ultimately, our humanity. whose work has appeared on recom- mended reading lists for both Open This is a perfectly-timed, trending novel in terms of technology, societal and sociological Book Toronto and the 49th Shelf, as themes, romantic, familial, and platonic relationships, world angst, concerns about climate well as being chosen as a Chatelaine change, the future of our children, education, and arts entertainment. Editor’s Pick and a Canadian Living Magazine Must Read. She has pub- “In her latest captivating book, Lisa de Nikolits proffers not only a roller coaster of enter- lished nine novels that most recently tainment, but also, sharp political commentary in complicated times. The Rage Room is an include: No Fury Like That (published intricately woven dystopian world, rich in strong female characters who easily whisk readers in Italian under the title Una furia to a world of futuristic follies. Move over George Orwell—De Nikolits shows us how the dell’altro mondo); Rotten Peaches and future can be scary, exciting, and above all, female.” The Occult Persusasion and the Anar- —Kelly S. Thompson, national bestselling author of Girls Need Not Apply: Field Notes chist’s Solution. Lisa lives and writes in from the Forces Toronto and is a member of the Sisters in Crime, Toronto Chapter; Sisters in Crime; Mesdames of Mayhem; and The International Thriller Writers. Promotional Plans • Toronto, Kingston, Peterborough, Calgary, and Halifax launches and readings • Promotional bookmarks • Review copy mailing / submissions to reading series • Ads in trade and literary magazines 4 FALL 2020 FRONTLIST DANCING WITH CHAIRS IN THE MUSIC HOUSE A NOVEL BY CARO SOLES Dancing With Chairs in the Music House takes place in 1949 in a Victorian mansion at 519 Jarvis Street. Once the home of the Massey family, it is now a genteel but somewhat rundown rooming house owned by a reclusive pianist who gives master classes to talented students. Ten-year-old Vanessa lives in two rooms on the second floor with her invalid father, who was gassed during World War I, her mother, and her big brother, one of the landlady’s piano students.
Load more

Recommended publications
  • Difficulty in the Origins of the Canadian Avant-Garde Film
    CODES OF THE NORTH: DIFFICULTY IN THE ORIGINS OF THE CANADIAN AVANT-GARDE FILM by Stephen Broomer Master of Arts, York University, Toronto, Canada, 2008 Bachelor of Fine Arts, York University, Toronto, Canada, 2006 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program in Communication and Culture Toronto, Ontario, Canada, 2015 © Stephen Broomer, 2015 Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film Stephen Broomer Doctor of Philosophy in Communication and Culture, 2015 Ryerson University and York University Abstract This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty.
    [Show full text]
  • Ontario Crafts Council Periodical Listing Compiled By: Caoimhe Morgan-Feir and Amy C
    OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Ontario Crafts Council Periodical Listing Compiled by: Caoimhe Morgan-Feir and Amy C. Wallace Compiled in: June to August 2010 Last Updated: 17-Aug-10 Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 1 In Celebration of pp. 1-10 Official opening, OCC headquarters, This article is a series of photographs and the Ontario Crafts Crossroads, Joan Chalmers, Thoma Ewen, blurbs detailing the official opening of the Council Tamara Jaworska, Dora de Pedery, Judith OCC, the Crossroads exhibition, and some Almond-Best, Stan Wellington, David behind the scenes with the Council. Reid, Karl Schantz, Sandra Dunn. Craftsman 1976 April 1 1 Hi Fibres '76 p. 12 Exhibition, sculptural works, textile forms, This article details Hi Fibres '76, an OCC Gallery, Deirdre Spencer, Handcraft exhibition of sculptural works and textile House, Lynda Gammon, Madeleine forms in the gallery of the Ontario Crafts Chisholm, Charlotte Trende, Setsuko Council throughout February. Piroche, Bob Polinsky, Evelyn Roth, Charlotte Schneider, Phyllis gerhardt, Dianne Jillings, Joyce Cosgrove, Sue Proom, Margery Powel, Miriam McCarrell, Robert Held. Craftsman 1976 April 1 2 Communications pp. 1-6 First conference, structures and This article discusses the initial Weekend programs, Alan Gregson, delegates. conference of the OCC, in which the structure of the organization, the programs, and the affiliates benefits were discussed. Page 1 of 153 OCC Periodical Listing Compiled by: Caoimhe Morgan-Feir Amy C. Wallace Periodical Year Season Vo. No. Article Title Author Last Author First Pages Keywords Abstract Craftsman 1976 April 1 2 The Affiliates of pp.
    [Show full text]
  • 1976-77-Annual-Report.Pdf
    TheCanada Council Members Michelle Tisseyre Elizabeth Yeigh Gertrude Laing John James MacDonaId Audrey Thomas Mavor Moore (Chairman) (resigned March 21, (until September 1976) (Member of the Michel Bélanger 1977) Gilles Tremblay Council) (Vice-Chairman) Eric McLean Anna Wyman Robert Rivard Nini Baird Mavor Moore (until September 1976) (Member of the David Owen Carrigan Roland Parenteau Rudy Wiebe Council) (from May 26,1977) Paul B. Park John Wood Dorothy Corrigan John C. Parkin Advisory Academic Pane1 Guita Falardeau Christopher Pratt Milan V. Dimic Claude Lévesque John W. Grace Robert Rivard (Chairman) Robert Law McDougall Marjorie Johnston Thomas Symons Richard Salisbury Romain Paquette Douglas T. Kenny Norman Ward (Vice-Chairman) James Russell Eva Kushner Ronald J. Burke Laurent Santerre Investment Committee Jean Burnet Edward F. Sheffield Frank E. Case Allan Hockin William H. R. Charles Mary J. Wright (Chairman) Gertrude Laing J. C. Courtney Douglas T. Kenny Michel Bélanger Raymond Primeau Louise Dechêne (Member of the Gérard Dion Council) Advisory Arts Pane1 Harry C. Eastman Eva Kushner Robert Creech John Hirsch John E. Flint (Member of the (Chairman) (until September 1976) Jack Graham Council) Albert Millaire Gary Karr Renée Legris (Vice-Chairman) Jean-Pierre Lefebvre Executive Committee for the Bruno Bobak Jacqueline Lemieux- Canadian Commission for Unesco (until September 1976) Lope2 John Boyle Phyllis Mailing L. H. Cragg Napoléon LeBlanc Jacques Brault Ray Michal (Chairman) Paul B. Park Roch Carrier John Neville Vianney Décarie Lucien Perras Joe Fafard Michael Ondaatje (Vice-Chairman) John Roberts Bruce Ferguson P. K. Page Jacques Asselin Céline Saint-Pierre Suzanne Garceau Richard Rutherford Paul Bélanger Charles Lussier (until August 1976) Michael Snow Bert E.
    [Show full text]
  • Speaking Clown to Power: Can We Resist the Historic Compromise of Neoliberal Art? GREGORY SHOLETTE
    03_Cronin pg27-54 11/19/10 12:48 PM Page 27 Speaking Clown to Power: Can We Resist the Historic Compromise of Neoliberal Art? GREGORY SHOLETTE Clowns always speak of the same thing, they speak of hunger; hunger for food, hunger for sex, but also hunger for dignity, hunger for identity, hunger for power. In fact, they introduce questions about who commands, who protests.1 he transformation of the postwar welfare or “Keynesian” state economy into its current, neoliberal form has dramatically altered the relationship Tbetween labour, capital, and the state. As noted in the introduction to this book, globalization, privatization, flexible work schedules, financial schemes, and hyper-deregulated markets have plunged many individuals into a world of precarious labour, in which one’s very sense of “being” is in a constant, yet indeterminate state of risk. In one stroke, the 2008 global financial meltdown illuminated the details of risk society—painfully for many (profitably for a small group of others). Not surprisingly, some look to culture for a modicum of critical insight if not an entirely different vision of life and labour. The work of artists, it is alleged, provides self-knowledge and sometimes utopian alter- natives precisely because cultural creativity is said to be a unique form of sen- suous, nonproductive, self-directed, and therefore “autonomous,”labour. Art appears to exist separately from the “cultural pollution”of everyday commerce. But given that art is also a form of labour, is it not also affected by the recent changes in
    [Show full text]
  • Annual Report 12
    ANNUAL REPORT 2013 THE MUSEUM 2013 Samantha Roberts volunteers her time in our library archives. Happy visitors tour the exhibition L.O. Today during the opening reception. 2013 was a year of transition and new growth for London, our tour guides, board and committee Museum London. As we entered 2013, we were members, Museum Underground volunteers, and guided by our new Strategic Plan, which had the many others—who have done exceptional work to succinct focus of attracting “Feet, Friends, and support the Museum this past year and over the Funds” and achieving the goals of creating many years of the Museum's history. opportunities for dialogue—about art and history, about our community, and indeed, about our 2013 also saw us transition our membership organization through a wide variety of program into a “supporters” program that has experiences and opportunities for engagement. enabled the Museum to engage and connect with a much larger segment of our community. All We also embarked on a new model of volunteerism Londoners are now able to enjoy the benefits of that provided new and diverse opportunities for a participating in and supporting the Museum. The wide variety of people interested in supporting art continued commitment of our supporters has and heritage in the community. The reason for our enabled us to maintain Museum London as an renewed approach is the changing face of important cultural institution with a national volunteerism: today young people volunteer to reputation for excellence. support their professional and educational goals, new Canadians volunteer as a way to connect with The City of London chose to create a separate their new home and with potential employers, and board to manage Eldon House beginning January seniors offer up their years of experience and 1, 2013.
    [Show full text]
  • Inanna Fall 2021 Catalogue
    Smart books for people who want to read and think about real women’s lives. Inanna Fall 2021 Inanna Publications & Education Inc. is one of only a very few independent feminist presses in Canada committed to publishing fiction, poetry, and creative non-fiction by and about women, and complementing this with relevant non-fiction. Inanna’s list fosters new, innovative and diverse perspectives with the potential to change and enhance women’s lives everywhere. Our aim is to conserve a publishing space dedicated to feminist voices that provoke discussion, advance feminist thought, and speak to diverse lives of women. Founded in 1978, and housed at York University since 1984, Inanna is the proud publisher of one of Canada’s oldest feminist journals, Canadian Woman Studies/les cahiers de la femme. Our priority is to publish literary books, particularly by fresh, new Canadian voices, that are intellectually rigorous, speak to women’s hearts, and tell truths about the vital lives of a broad diversity of women—smart books for people who want to read Smart books for people who and think about real women’s lives. Inanna books are important resources, widely used in university courses across the country. Our books are essential for any want to read and think about curriculum and are indispensable resources for the feminist reader. A real women’s lives. 210 Founders College, York University 4700 Keele Street, Toronto, ON M3J 1P3 Phone: 416.736.5356 | Fax: 416.736.5765 [email protected] | www.inanna.ca CONTENTS FALL 2021 FALL 2021 FRONTLIST: FICTION SERIES 2 FALL 2021 FRONTLIST: YOUNG FEMINIST SERIES 7 FALL 2021 FRONTLIST: SIGNATURE SERIES 8 FALL 2021 FRONTLIST: MEMOIR SERIES 9 FALL 2021 FRONTLIST: POETRY SERIES 12 SPRING 2021 POETRY AND FICTION SERIES 15 SPRING 2021 BIOGRAPHY & MEMOIR 18 SPRING 2021 INANNA NON-FICTION 19 Inanna Publications & Education Inc.
    [Show full text]
  • Building a Better College for UC Students
    SPRING 2008 UNIVERSITY COLLEGE Building a Better College for UC Students How Capital Improvements Enhance the Student Experience Meet the Commuter Student Centre Dons UC History 101 Front to Back: 2007/2008 Commuter Student Centre Don Madeline MacKenzie, 2007/2008 Off-Campus Commissioner Arman Hamidian, 2007/2008 Commuter Student Centre Don Deena UNIVERSITY COLLEGE Dadachanji in the UC Commuter Student Centre 54748-1 UC_08_SPRING_R16.indd 1 3/5/08 3:16:41 PM UC NOW CONTENTS A Message from UC Principal 2 A Message from UC Principal Sylvia Bashevkin A Message Sylvia Bashevkin 4 In Touch from UCAA Faculty and Staff News This edition of the University Recently Published President College magazine highlights Nicholas efforts to improve student life 6 Spotlight that we’ve undertaken during Meet Commuter Student Centre Dons Deena Dadachanji and Holland (UC ‘93) recent years, and hope with Madeline MacKenzie your help to pursue in the Let me begin with an ending. This is, with some sad- future. Our theme of building Come Back for Spring Reunion 2008 ness, my final message as the President of the UCAA 7 a better College draws inten- Welcoming all graduates of years ending in 3 and 8 as my wife, Tracy Hazlewood (a UC alumna), and tionally on the word building I are leaving Canada at the end of March for the – since so many of the fond Cayman Islands. And so, farewell! memories treasured by our alumni relate directly to the 8 Feature The focus for this edition of the magazine is building physical spaces at the heart of the St.
    [Show full text]
  • Chambers Catalogue
    SUSAN CREAN There is a sequence in John Walker and Chris Lowry’s 1982 film Chambers: Tracks and Gestures of the artist in his kitchen shoving fat organic carrots through a silver juicer. Those carrots were a major element in his life during the remission years, part of the regimen that seemed to be keeping him alive. Well I remember one mad search for a supply of them in Edmonton in February. Still, spending time with Jack going to meetings, organizing conferences and discussing copyright reform was a very long way from a death watch. It was more like trailing an athlete-in-training, for he was superbly disciplined, fit and effective. And that went for politics as much as his health. The politics began with a letter from the National Gallery in 1967 asking for permission to make slides of Chambers’s work in the exhibition 300 Years of Canadian Art. These were to be part of a slide library offered to schools and universities. No mention was made of a royalty, the letter implying that the educational purpose of the enterprise obviated any need for one. Jack wrote back, copying his letter to 130 artists across Canada, pointing out that his painting (Antonio and Miguel in the U.S.A.) was the “primary product” in a process from which a long list of people stood to derive revenue, “beginning with the attendant who gases the photographer’s car.” Yet the artists on whom the project depended were excluded from the scheme. To Jack, the equation was simple: artists were providing a service and not being paid for it.
    [Show full text]
  • Jack Chambers Fonds CA OTAG SC055
    E.P. Taylor Research Library & Archives Description & Finding Aid: Jack Chambers Fonds CA OTAG SC055 Finding aid prepared by Judith Rodger, 1995–1996 Finding aid modified and description prepared by Amy Marshall With assistance from Gary Fitzgibbon, 2002/2009 317 Dundas Street West, Toronto, Ontario, M5T 1G4 Canada Reference Desk: 416-979-6642 www.ago.net/research-library-archives Jack Chambers fonds Jack Chambers fonds Dates of creation: [ca. 1920]–1991, predominant 1961–1978 Extent: 5323 photographs 1.66 m of textual records and graphic materials 147 drawings 6 segments of film 3 audio discs 2 boxes of objects 1 model Biographical sketch: John Richard Chambers (1931–1978) was a Canadian painter and experimental filmmaker. Born in London, Ontario, he received his first art training there at H.B. Beal Technical School. After graduation in 1949 he left to study art in San Miguel de Allende, Mexico. He returned to London in 1952 to study at the University of Western Ontario before leaving to travel in Europe the following year. During his travels in France, Jack Chambers met Picasso, who advised him to continue his studies in Spain. In 1957 he spent the summer in England where he met Henry Moore. Soon afterward he began his studies at the Escuela Central de Bellas Artes de San Fernando in Madrid, graduating in 1959. His first exhibition was at the Lorca Gallery in Madrid in 1960. The following year he returned to London, Ontario. In Spain he had met Olga Sanchez Bustos, whom he married in Canada in 1963. They had two children, John (b.
    [Show full text]
  • Artario 72” Curated by Noor Bhangu
    Once A Total Art Happening: Revisiting “artario 72” Curated by Noor Bhangu November 24 - December 20, 2018 Curator’s Tours: December 8, 1 P.M.; December 14, 11:30 A.M. Kim Ondaatje, dom-tar with train, 1972. Photolitho/Serigraph in colour. Collection of the School of Art. “I’ve always felt that art has had too much mystique attached to it. It shouldn’t be something hidden away in art galleries. It should be a natural part of our everyday experience. Makes no difference who you are – whether you’re a Toronto art snob or a pulp worker in Kapuskasing – you should be able to go out and look at it and buy it if you like it. Cheaply. Just like books or records.”1 So began Peeter Sepp’s experiment of democratizing the arts in Canada. Using the model of the Multikonst, a Swedish travelling exhibition, artario 72 was designed as an “exhibition in a box” to be toured across Canada. Situated in an era of economic prosperity and cultural democratization, the exhibition focused on industrial means of production and dissem- ination, which promised to bring art cheaply and effectively to the Canadian people. On the evening of October 12, 1972, artario 72 opened simultaneously at nearly 500 different locations across Canada, including the School of Art at the Uni- versity of Manitoba.2 At its core, the project aimed to generate a pan-Canadian, visually-literate public that would learn to appreciate and support the Canadian arts in due time. Once an Art Happening prompts us to return to this historical exhibition and unpack the social life of visual arts in Canadian society of the late 60s and early 70s.
    [Show full text]
  • The ART of LONDON 1830-1980 by Nancy Geddes Poole
    The ART of LONDON 1830-1980 by Nancy Geddes Poole. e-Book Published by: Nancy Geddes Poole 2017 Canadian Cataloguing in Publication Data Poole, Nancy Geddes, 1930- The Art of London, 1830-1980 Bibliography: p. ISBN 978-0-9959283-0-5 1. Art, Canadian – Ontario – London – History. 2. Art, Modern – Ontario – London – History. 3. Artists – Ontario - London. I. Title. N6547. L66P6 1984 709’.713’26 C85-098067-4 II Table of Contents Forward ......................................................................................................................III Acknowledgement ........................................................................................................ IX Chapter 1 The Early Years 1830-1854 ........................................................... 1 Chapter 2 Art in the Young City ....................................................................... 19 Chapter 3 Judson and Peel ................................................................................. 38 Chapter 4 Art Flourishes in the 1880s ........................................................ 56 Photograph Collection One ..................................................................................... 73 Chapter 5 London Women and Art ................................................................ 97 Chapter 6 The Turn of the Century ............................................................ 113 Chapter 7 Two Art Galleries for London ................................................. 123 Photograph Collection Two ....................................................................................
    [Show full text]
  • Kazimir Glaz, the Centre for Contemporary Art and the Printmakers at Open Studio As Two Aspects of Printmaking Practice in the 1970S in Toronto
    KAZIMIR GLAZ, THE CENTRE FOR CONTEMPORARY ART AND THE PRINTMAKERS AT OPEN STUDIO AS TWO ASPECTS OF PRINTMAKING PRACTICE IN THE 1970S IN TORONTO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES AND RESEARCH IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY: ART AND ITS INSTITUTIONS BY ILONA JURKIEWICZ, BFA, HONOURS CARLETON UNIVERSITY OTTAWA, ONTARIO 1 DECEMBER, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-87772-2 Our file Notre reference ISBN: 978-0-494-87772-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]