Catalog of an exhibition held at The Art Gallery of Ontario May 28-July 31, 1983. Includes a variety of forms of Inuit art. Bulk of the collection is contemporary and from the Canadian Arctic although some are prehistoric pieces and from a different geographical area. Numerous photographs.

This volume makes available, in English, most of the essays written to accompany the Canadian Museum of Civilization’s exhibition of the same name. Not included, are the essays by Gisela Hoffman, Bernadette Driscoll and Elizabeth McLuhan and the exhibition catalogue section which appeared in the original German publication. This book provides an overview of the evolution of contemporary Native Canadian art. Regional styles as well as individual artistic styles are discussed and the various subjects, themes and techniques reflected in the works are examined.

Inuit--sometimes referred to as Eskimo--art is the primary art form of Canada and has a large international following, particularly in the United States, Japan, and Germany. Despite its popularity, the complete history of Inuit art has never been presented. This is the first chronological synthesis of Inuit art, following its development from prehistory, through early American and European exploration, to the recognition of Inuit art as a commercial possibility, and up to the present. There is a particular emphasis on contemporary art and artists, and the years 1950 through 1997 are each given separate, detailed treatment in regard to important shows and events. This history is appropriate both for the beginning admirer of Inuit art and for those already well immersed in it.

Archaeological digs have turned up sculptures in Inuit lands that are thousands of years old, but "Inuit art" as it is known today only dates back to the beginning of the 1900s. Early art was traditionally produced from soft materials such as whalebone, and tools and objects were also fashioned out of stone, bone, and ivory because these materials were readily available. The Inuit people are known not just for their sculpture but for their graphic art as well, the most prominent forms being lithographs and stonecuts. This work affords easy access to information to those interested in any type of Inuit art. There are annotated entries on over 3,761 articles, books, catalogues, government documents, and other publications.

Rich colours and arresting designs capture the mood of celebration and joy that characterizes this photographic record of contemporary religious works of art. Chosen for their excellence in design and stitchery, these works represent the achievements of artists who have created art, in fabric, for places of worship. This book celebrates this important artistic expression, a significant part of our heritage. Pieces are selected from communities across Canada: from a small parish on a Micmac reserve in Nova Scotia to a large urban synagogue in Vancouver; from the igloo-shaped cathedral in Iqaluit to a suburban church nestled beside a wildlife march in southwestern Ontario.

What happens when the 12th century’s most famous French lovers are caught in the crossfire of factions, religious reform and blind ambition? Heloise is a determined young woman with an exceptional mind, longing to pursue learning rather than marriage or life as a cloistered nun. Her path inevitably crosses with Peter Abelard, the celebrity philosopher, theologian and master at Paris’ famed Cathedral School. When two such brilliant minds meet and engage, sparks are likely to ignite. But theirs is an impossible love. This is a time when the Gregorian Reforms are starting to bite and celibacy among the clergy and church officials is being rigorously imposed. Based on meticulous up-to-date research and the pair’s own writings, this novel offers a plausible interpretation of the known facts and a vivid imagining of the gaps in this legendary story. It shines a light on a changing world whose attitudes and politics are not so very different from our own.

"An outstanding set of studies that work well with each other to produce truly substantial and rich insights into the making and consuming of art in the colonial and post-colonial world."—Susan S. Bean, Curator, Peabody Essex Museum