Magazine

Published to coincide with Canada’s sesquicentennial, Art in Canada by Marc Mayer, Director of the National Gallery of Canada, is unlike any previous survey of Canadian art and artists.
Correspondence between Eric Brown and Arthur Lismer shows solidarity in the wake of disaster and Lismer’s utmost dedication to art.
Hope I — the only Klimt painting in a Canadian public collection — will be joined at the Gallery by two more of his works: Portrait of Elisabeth Lederer and Forest Slope in Unterach on the Attersee.
Made of bronze, sheet metal, carved stone, stainless steel, and even marble, the NGC’s collection of outdoor sculptures are on display to the general public.
Two years earlier the painting Whatif/Twilight had suffered serious damage in a flood. The artist, Ron Moppett, offered it to the gallery — if it could be fixed.
Searching for a way to celebrate visual arts traditions during Canada’s sesquicentennial year, Fredericton’s Beaverbrook Art Gallery went deep and wide.
Installed in the short passageway between rooms A102 and A103, cartes de visite and other studio prints demonstrate that there was already an active commercial photography industry in Canada during this period...
The concept of “community” is a double-edged sword. While communities support individuals by allowing self-actualization, they may also exclude individuals by hindering development.
The Venice Art Biennial is the Olympics of contemporary art and draws half a million people to Venice, Italy every two years. Unlike the Olympics, however, you aren’t likely to catch highlights from La...