One of Canada's leading visual artists, Charles Pachter, adds a Canadian twist to the alphabet book with his M is for Moose, a delightful and unexpected take on a form we thought we knew well. Combining words and images, M is for Moose is both visually stunning and full of fun. It includes images from Pachter's portfolio of famous paintings, including Joy Ride, with the Queen on a moose, and a young Margaret Atwood with flaming red hair. Covering the iconic to the playful, it celebrates our country, history, and culture while offering a spirited lesson in the ABCs. An icon himself, Pachter's work is collected globally. His M is for Moose is destined to become a classic of Canadian children's literature.

First Published in 1997. North American Women Artists of the Twentieth Century: A Biographical Dictionary was created to fill a gap of there being a comprehensive reference work like this available, even though the bibliography in English on various aspects of the history of women artists has grown exponentially during the past ten years. As researchers, the editors have been frustrated many times by being unable to locate basic information about many of the artists included in this volume—especially those working outside the United States. This leads directly to another reason for producing this particular kind of reference book—to try and create a better understanding between and among the artists and art audiences in these countries.

A beautiful introduction to Canada’s famous artists. In 1920, a group of Toronto artists exhibited their work together for the first time. They called themselves the Group of Seven. Their paintings were very different from the art of the time. Some people were excited by their unique styles, and some were horrified. It took years for their work to be fully appreciated. But today, the Group of Seven are some of Canada’s best-loved artists. Here’s a must-have reference to the artists who changed the landscape of Canadian art forever.

In 1953 eleven Canadian Abstract Expressionist artists banded together to break through the barricades of traditional art at a time when landscapes were about the only paintings collectors were buying. Hungry for recognition, raging against the art establishment that was shutting them out, they decided to form a collective, expecting they would gain more attention as a group than as solo artists. In 1954, The Painters Eleven--Jack Bush, Oscar Cahén, Hortense Gordon, Tom Hodgson, Alexandra Luke, Jock Macdonald, Ray Mead, Kazuo Nakamura, William Ronald, Harold Town and Walter Yarwood--held their first exhibition in Toronto. Initially the public response echoed the worldwide sentiments toward Abstract Expressionism --mockery and bewilderment. Nevertheless, the exhibition attracted wide public interest and criticism faded into acclaim from critics and collectors alike. A successful 1956 exhibition at the Riverside Gallery in New York even elicited praise from the influential critic Clement Greenberg. Packed with gorgeous full color reproductions, this highly detailed account reveals the influences of the indivudual artists on the group's dynamic art and uncovers why the Painters Eleven had such a struggle for recognition, and why they acheived it so masterfully.

The story of artists in Western Canada, and how they changed the face of Canadian art “Listen to the visual voices of artists. They tell us so poignantly who we are, what we must cherish, and what we must address as a society.” Patricia Bovey Throughout her remarkable career as a gallery director, curator, and author, Patricia Bovey has tirelessly championed the work of Western Canadian artists. Western Voices in Canadian Art brings this lifelong passion to a crescendo, delivering the most ambitious survey of Western Canadian Art to date. Beginning with the earliest European-trained artists in Western Canada, and moving up to present day, Bovey amplifies the depth, scope, and importance of the diverse artists (both settler and Indigenous) whose distinct voices have contributed to the Western Canadian artistic tradition. Bovey then adopts a thematic approach, richly informed by her knowledge and experience, connecting art and artists through time and across provincial boundaries. Insights from Bovey’s studio visits and conversations with artists enhance our understandings of the history and trajectory of, and impetus for Canadian artistic creation. Lavishly illustrated with over 250 works reproduced in full colour, Western Voices in Canadian Art is a book that needs to be seen, and its artists and art celebrated.

It can be a little scary to be small in a big city, but this child has some good advice for a very special friend in need. Winner of the Ezra Jack Keats Award A New York Times/New York Public Library Best Illustrated Book of the Year Winner of the CILIP Kate Greenaway Medal It can be a little scary to be small in a big city, but it helps to know you're not alone. When you're small in the city, people don't see you, and loud sounds can scare you, and knowing what to do is sometimes hard. But this little kid knows what it's like, and knows the neighborhood. And a little friendly advice can go a long way. Alleys can be good shortcuts, but some are too dark. Or, there are lots of good hiding places in the city, like under a mulberry bush or up a walnut tree. And, if the city gets to be too much, you're always welcome home, where it's safe and quiet. In the first book that he has both written and illustrated, award-winning artist Sydney Smith spins a quiet, contemplative tale about seeing a big world through little eyes. He is the winner of the Hans Christian Andersen Award, the highest international distinction given to authors and illustrators of children's books. Winner of the Governor General's Literary Award An ALA Notable Children's Book A New York Times Best Children's Book A Wall Street Journal Best Children's Book of the Year An NPR Best Kids Book of the Year A Capitol Choices Noteworthy Title A Washington Post Best Children's Book of the Year A Canadian Broadcasting Corporation Best Picture Book of the Year Named a Best Book of the Year by Publishers Weekly, Kirkus Reviews, School Library Journal, the Horn Book, Shelf Awareness, and many more! A Booklist Editors' Choice A BCCB Blue Ribbon Book Winner of the German Youth Literature Prize

This book charts the developments in Canadian art from the late nineteenth century to the present with new essays by the country's leading art historians. A comprehensive overview, this volume embraces painting, sculpture, photography, design, video, and conceptual and cross-disciplinary art, as well as studies of art institutions and historiography. Each chapter explores the richness and diversity of Canadian art; topics range from impressionist painting to the multimedia work of First Nations artists, and from the Group of Seven to contemporary video production. Newly commissioned, carefully edited, and with 185 full-colour illustrations, The Visual Arts in Canada will appeal to general readers and students alike. An extensive index, as well as an appendix that list galleries and artist-run centres across the country, make this the definitive resource for Canadian art from the past century. Throughout the twenty chapters, readers will recognize favourite artists and encounter new ones-all of whom play an integral role in the country's visual history.

Picture a six-minute conversation filmed by 20 cameras, then sliced, diced and reshuffled by computer into a film that's 157-hours long. (Yes, that's more than a week, but you don't have to watch the whole thing at once.) It's the essence of Stan Douglas, who "witholds the artificial neatness of conclusion and gives us instead a sense of the interminable," as one admiring critic wrote. In Inconsolable Memories, Douglas uses photos he took in Cuba as the base for his unique approach to narrative, putting together a look at exile and identity against the backdrop of the 1980 Mariel Boatlift. Includes essays by Svon Luttiken and Phillip Monk, the lavishly illustrated screenplay, and 40 color plates of recent photographs.