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Jon S. Dellandrea, author and Chair Emeritus of the Art Canada Institute Board of Directors, discusses his new book, The Great Canadian Art Fraud Case.
Boyle and Perera reflect on their experiences of navigating cultural distinctions within their collaborative relationships with institutions and other artists.
Monkman addresses how the ACI’s publication Revision and Resistance is the only book to offer the behind-the-scenes story of mistikôsiwak (Wooden Boat People), two genre-defying paintings that have changed the conversation about art history.
Founder and Executive Director Sara Angel talks to CBC News about the launch of the Art Canada Institute on November 28, 2013. Her vision was simple: make Canadian art history accessible to twenty-first century audiences by creating a multi-vocal, bilingual, comprehensive web resource on the country’s visual culture.
When it comes to folk art in Canada, there’s before Maud Lewis (1901–1970)—and after. Celebrating the release of Maud Lewis: Life & Work by Ray Cronin, the panelists will discuss her legacy and pay tribute to the cheerful works that testify to her indomitable spirit.
Today many public monuments are controversial, but in the early twentieth century they were objects to behold—none more so than Canada’s Vimy Memorial in France, a destination for over 700,000 visitors each year. This talk will address the iconic structure, its construction, and the role of commemorative statues in art history.
This interview will reveal when and why Audain began buying art and how he became one of Canadian art’s most devoted patrons and instrumental in preserving and promoting our country’s cultural heritage.
This interview will reveal when and why Audain began buying art and how he became one of Canadian art’s most devoted patrons and instrumental in preserving and promoting our country’s cultural heritage.
In this talk the Saulteaux artist and curator speaks about how, through his art, he has created a renewed vision of the world that includes the restoration of cultural memory, challenges to the government on political issues affecting Indigenous peoples, and the decolonization of the museum and the self.
Jon S. Dellandrea, author and Chair Emeritus of the Art Canada Institute Board of Directors, discusses his new book, The Great Canadian Art Fraud Case.
Boyle and Perera reflect on their experiences of navigating cultural distinctions within their collaborative relationships with institutions and other artists.
Monkman addresses how the ACI’s publication Revision and Resistance is the only book to offer the behind-the-scenes story of mistikôsiwak (Wooden Boat People), two genre-defying paintings that have changed the conversation about art history.
Founder and Executive Director Sara Angel talks to CBC News about the launch of the Art Canada Institute on November 28, 2013. Her vision was simple: make Canadian art history accessible to twenty-first century audiences by creating a multi-vocal, bilingual, comprehensive web resource on the country’s visual culture.
When it comes to folk art in Canada, there’s before Maud Lewis (1901–1970)—and after. Celebrating the release of Maud Lewis: Life & Work by Ray Cronin, the panelists will discuss her legacy and pay tribute to the cheerful works that testify to her indomitable spirit.
Today many public monuments are controversial, but in the early twentieth century they were objects to behold—none more so than Canada’s Vimy Memorial in France, a destination for over 700,000 visitors each year. This talk will address the iconic structure, its construction, and the role of commemorative statues in art history.
This interview will reveal when and why Audain began buying art and how he became one of Canadian art’s most devoted patrons and instrumental in preserving and promoting our country’s cultural heritage.
This interview will reveal when and why Audain began buying art and how he became one of Canadian art’s most devoted patrons and instrumental in preserving and promoting our country’s cultural heritage.
In this talk the Saulteaux artist and curator speaks about how, through his art, he has created a renewed vision of the world that includes the restoration of cultural memory, challenges to the government on political issues affecting Indigenous peoples, and the decolonization of the museum and the self.