Much like the United States, Canada is a nation that’s home to many different kinds of peoples and cultures. Canada is known as a wintery country, and Quebec has one of the largest winter festivals in the world! But there’s much more to Canada than just winter fun. This volume takes readers on an exciting tour of Canada’s colorful history. The fact-filled text explores customs and crafts that show readers firsthand what it’s like to be Canadian. Vibrant photographs of Canadian people, places, food, and icons are paired with accessible, step-by-step instructions for making a host of Canada’s cultural crafts, including a Mountie hat, a Canadian flag, and even traditional Inuit crafts!

Dormer presents a series of lively, clearly argued discussions about the relevance of handicraft in a world whose aesthetics and design are largely determined by technology. The question of computer aided design in craft is also addressed.

With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls’ Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.

In 1905 two Montreal women, Alice Peck and May Phillips, founded the Canadian Handicrafts Guild. Inspired by British and American women in the arts and crafts movement, and spurred by their thirty-year rivalry with Mary Dignam of the Toronto-based Women's Art Association of Canada, these two created an organization that revived popular interest in traditional handwork done by women, Canadiens, Indigenous people, and new Canadians.

This collection of 19 original essays argues for a critical and sustained engagement between the fields of craft and heritage. The book's interdisciplinary and international array of authors consider how heritage and craft institutions, policies, practices and audiences encounter the constraints and opportunities of production, recognition and exhibition. Case studies spanning 125 years raise and address questions concerning authenticity and commodification, innovation and improvisation, diasporas and decolonization, global economies and national and professional identities. Authors also analyse mechanisms through which craft mobilises and has been harnessed by heritage processes and designations. Examples range from an Irish village at the 1893 Chicago World's Fair and the role of chronopolitics in contemporary Vietnamese pottery, to the invisibility of crochet within Swedish heritagisation processes and the application of game theory in a ceramics museum. With section one considering citizenship and identity, section two sustainability and section three dynamic craft in cultural institutions, Craft and Heritage interrogates how craft objects, makers and processes intersect with current heritage concerns and practices.

Craft practice has a rich history and remains vibrant, sustaining communities while negotiating cultures within local or international contexts. More than two centuries of industrialization have not extinguished handmade goods; rather, the broader force of industrialization has redefined and continues to define the context of creation, deployment and use of craft objects. With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls? Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization, whether inspired by a calculated refutation of industrial sameness, an essential means to sustain a cultural community under threat, or a rejection of the imposed definitions by a dominant culture. The broader effects of urbanizing, imperial and globalizing projects shape the multiple contexts of interaction and resistance that can define craft ventures through place and time. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.

By contrasting American experience with the Canadian context, which includes a unique Quebec identity and a Native dimension, Sandra Alfoldy argues that the development of organizations, advanced education for craftspeople, and exhibition and promotional opportunities have contributed to the distinct evolution of professional craft in Canada over the past forty years. Alfoldy focuses on 1964-74 and the debates over distinctions between professional, self-taught, and amateur craftspeople and between one-of-a-kind and traditional craft objects. She deals extensively with key people and events, including American philanthropist Aileen Osborn Webb and Canadian philanthropist Joan Chalmers, the foundation of the World Crafts Council (1964) and the Canadian Crafts Council (1974), the Canadian Fine Crafts exhibition at Expo 67, and the In Praise of Hands exhibition of 1974. Drawing upon a wealth of previously unexploited materials, this richly documented survey includes descriptions and illustrations of significant works and identifies the challenges that lie ahead for professional crafts in Canada.

Annotation. Fully colour-illustrated travel guides packed with information on the history and culture of a destination.

This complete, step-by-step illustrated guide offers teachers 30 easy-to-do art projects using readily available materials. The project, from around the world, comes complete with cultural background information and extension activities.

Leading Canadian artists, curators, and art historians from Douglas Coupland to Paul Bourassa look at questions of design and national identity in the 1960s.