Painted Fires, first published in 1925, narrates the trials and tribulations of Helmi Milander, a Finnish immigrant, during the years approaching the First World War. The novel serves as a vehicle for McClung’s social activism, especially in terms of temperance, woman suffrage, and immigration policies that favour cultural assimilation. In her afterword, Cecily Devereux situates Painted Fires in the context of McClung’s feminist fiction and her interest in contemporary questions of immigration and “naturalization.” She also considers how McClung’s representation of Helmi Milander’s story draws on popular culture narratives.

Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century—and how they can alter our conceptions of photography today. As early as the 1670s, experimental philosophers at the Royal Society of London had studied the visual effects of dynamic combustibles. By the 1770s, chemical volatility became central to the ambitious paintings of Sir Joshua Reynolds, premier portraitist and first president of Britain’s Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds’s unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography. Tracing the long arc of chemically produced and reproduced art from the 1670s through the 1860s, the book reconsiders early photography by situating it in relationship to Reynolds’s replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.

Nellie L. McClung (1873-1951) was an internationally celebrated feminist and social activist whose success as a platform speaker was legendary. Her earliest notoriety was achieved as a writer, and during her lengthy career she authored four novels, two novellas, three collections of short stories, a two-volume autobiography and various collections of speeches, articles and wartime writing, to a total of sixteen volumes. All this served as a “pulpit” from which McClung could preach her gospel of feminist activism and social transformation. She was convinced that God’s intention for Creation was a “Fair Deal” for everyone; and that Canada, particularly the prairie West, was a perfect place to begin to bring that about. Woman suffrage, temperance and the ordination of women were keystones in the battle — engaged, in contrast to contemporary stereotypes, with a wit and compelling humour that won over enemies as it delighted her allies. Literature as Pulpit explores Nellie McClung’s vision of a “better world,” and the impediments to it, as expressed through her novels and her feminist “tract,” In Times Like These. It addresses the profoundly anti-feminist context within which McClung was forced to make her arguments, and notes her indebtedness to other feminist writers and thinkers of her day. Throughout, McClung’s religion of “active care” emerges as a consistent and harmonizing theme which integrates her feminism and social activism into a single empowering vision for social change.

The first in a series of small-format publications devoted to single bodies of work, Fire from the Sun highlights Michaël Borremans’s new work, which features toddlers engaged in playful but mysterious acts with sinister overtones and insinuations of violence. Known for his ability to recall classical painting, both through technical mastery and subject matter, Borremans’s depiction of the uncanny, the perhaps secret, the bizarre, often surprises, sometimes disturbs the viewer. In this series of work, children are presented alone or in groups against a studio-like backdrop that negates time and space, while underlining the theatrical atmosphere and artifice that exists throughout Borremans’s recent work. Reminiscent of cherubs in Renaissance paintings, the toddlers appear as allegories of the human condition, their archetypal innocence contrasted with their suggested deviousness. In his accompanying essay, critic and curator Michael Bracewell takes an in-depth look into specific paintings, tackling both the highly charged subject matter and the masterly command of the medium. He writes, “The art of Michaël Borremans seems always to have been predicated on a confluence of enigma, ambiguity, and painterly poetics—accosting beauty with strangeness; making historic Romanticism subjugate to mysterious controlling forces that are neither crudely malevolent nor necessarily benign.” Published on the occasion of Borremans’s eponymous exhibition at David Zwirner in Hong Kong, this publication is available in both English-only and bilingual English/traditional Chinese editions.

Air, Water, Earth, Fire. All life on earth depends on and survives because of the four elements of nature. Poets and painters alike have captured their allure and our desire for beauty. But how do artists render the essence of atmosphere and light, the sky, fog and mist, and wind and snow, as well as different terrain, mountains, wildfire, and festive fireworks? Now, over 50 contemporary artists and more than 400 paintings reveal the secret in every possible style. Here's what is available to you here: Each topic is analyzed according to its specific properties and uses. You find the resources, methods, and styles most suited to represent each element. Each chapter offers step-by-step exercises and tutorial videos. This is magic and method all wrapped into one volume. The artists here will speak to you and you can learn from their insight and the direction in which they pursue their artistic goals.

Nellie McClung was an extremely controversial figure in the first half of the 20th century: cartoonists viciously lampooned her and Conservatives burned her in effigy. But women across the country loved her. A spirited, witty and compassionate crusader, McClung was a best-selling author, a member of Parliament and a fervent advocate of women's rights. She was also the happily married mother of five, and a woman who loved a fancy hat. In telling this story, Candace Savage has drawn a vivid portrait of Nellie McLung and the times in which she lived. Incorporating McClung's own published writings--her autobiography, novels, short stories and articles--and informed by interviews with many who knew her, Our Nell is an immediate and intimate portrait of a remarkable Canadian woman.

In the late nineteenth century, European expansionism found one of its last homes in North America. While the American West was renowned for its lawlessness, the Canadian Prairies enjoyed a tamer reputation symbolized by the Mounties’ legendary triumph over chaos. Westward Bound debunks the myth of Canada’s peaceful West and the masculine conceptions of law and violence upon which it rests by shifting the focus from Mounties and whisky traders to criminal cases involving women between 1886 and 1940. Lesley Erickson reveals that judges’ and juries’ responses to the most intimate or violent acts reflected a desire to shore up the liberal order by maintaining boundaries between men and women, Native peoples and newcomers, and capital and labour. Victims and accused could only hope to harness entrenched ideas about masculinity, femininity, race, and class in their favour. The results, Erickson shows, were predictable but never certain. This fascinating exploration of hegemony and resistance in key contact zones draws prairie Canada into larger debates about law, colonialism, and nation building.