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Author: Dominic Hardy
Publisher: McGill-Queen's Press - MQUP
ISBN: 0773554262
Category : Art
Languages : en
Pages : 321
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Book Description
Canadian readers have enjoyed their own graphic satire since colonial times and Canadian artists have thrived as they took aim at the central issues and figures of their age. Graphic satire, a combination of humorous drawing and text that usually involves caricature, is a way of taking an ethical stand about contemporary politics and society. First appearing in short-lived illustrated weeklies in Montreal, Quebec City, and Toronto in the 1840s, usually as unsigned copies of engravings from European magazines, the genre spread quickly as skilled local illustrators, engravers, painters, and sculptors joined the teams of publishers and writers who sought to shape public opinion and public policy. A detailed account of Canadian graphic satire, Sketches from an Unquiet Country looks at a century bookended by the aftermath of the 1837–38 Rebellions and Canada’s entry into the Second World War. As fully fledged artist-commentators, Canadian cartoonists were sometimes gently ironic, but they were just as often caustic and violent in the pursuit of a point of view. This volume shows a country where conflicts crop up between linguistic and religious communities, a country often resistant to social and political change for women and open to the cross-currents of anti-Semitism, xenophobia, and fascism that flared across Europe and North America in the early twentieth century. Drawing on new scholarship by researchers working in art history, material culture, and communication studies, Sketches from an Unquiet Country follows the fortunes of some of the artists and satiric themes that were prevalent in the centres of Canadian publishing.
Author: Dominic Hardy
Publisher: McGill-Queen's Press - MQUP
ISBN: 0773554262
Category : Art
Languages : en
Pages : 321
Get Book Here
Book Description
Canadian readers have enjoyed their own graphic satire since colonial times and Canadian artists have thrived as they took aim at the central issues and figures of their age. Graphic satire, a combination of humorous drawing and text that usually involves caricature, is a way of taking an ethical stand about contemporary politics and society. First appearing in short-lived illustrated weeklies in Montreal, Quebec City, and Toronto in the 1840s, usually as unsigned copies of engravings from European magazines, the genre spread quickly as skilled local illustrators, engravers, painters, and sculptors joined the teams of publishers and writers who sought to shape public opinion and public policy. A detailed account of Canadian graphic satire, Sketches from an Unquiet Country looks at a century bookended by the aftermath of the 1837–38 Rebellions and Canada’s entry into the Second World War. As fully fledged artist-commentators, Canadian cartoonists were sometimes gently ironic, but they were just as often caustic and violent in the pursuit of a point of view. This volume shows a country where conflicts crop up between linguistic and religious communities, a country often resistant to social and political change for women and open to the cross-currents of anti-Semitism, xenophobia, and fascism that flared across Europe and North America in the early twentieth century. Drawing on new scholarship by researchers working in art history, material culture, and communication studies, Sketches from an Unquiet Country follows the fortunes of some of the artists and satiric themes that were prevalent in the centres of Canadian publishing.
Author: Ewa Stańczyk
Publisher: Univ. Press of Mississippi
ISBN: 149685151X
Category : Literary Criticism
Languages : en
Pages : 221
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Book Description
Antisemitic caricatures had existed in Polish society since at least the mid-nineteenth century. But never had the devastating impacts of this imagery been fully realized or so blatantly apparent than on the eve of the Second World War. In Cartoons and Antisemitism: Visual Politics of Interwar Poland, scholar Ewa Stańczyk explores how illustrators conceived of Jewish people in satirical drawing and reflected on the burning political questions of the day. Incorporating hundreds of cartoons, satirical texts, and newspaper articles from the 1930s, Stańczyk investigates how a visual culture that was essentially hostile to Jews penetrated deep and wide into Polish print media. In her sensitive analysis of these sources, the first of this kind in English, the author examines how major satirical magazines intervened in the ongoing events and contributed to the racialized political climate of the time. Paying close attention to the antisemitic tropes that were both local and global, Stańczyk reflects on the role of pictorial humor in the transmission of visual antisemitism across historical and geographical borders. As she discusses the communities of artists, publishers, and political commentators who made up the visual culture of the day, Stańczyk tells a captivating story of people who served the antisemitic cause, and those who chose to oppose it.
Author: Evan R. Davis
Publisher: Modern Language Association
ISBN: 1603293817
Category : Language Arts & Disciplines
Languages : en
Pages : 413
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Book Description
This volume addresses the teaching of satire written in English over the past three hundred years. For instructors covering current satire, it suggests ways to enrich students' understanding of voice, irony, and rhetoric and to explore the questions of how to define satire and how to determine what its ultimate aims are. For instructors teaching older satire, it demonstrates ways to help students gain knowledge of historical context, medium, and audience, while addressing more specific literary questions of technique and form. Readers will discover ways to introduce students to authors such as Swift and Twain, to techniques such as parody and verbal irony, and to the difficult subject of satire's offensiveness and elitism. This volume also helps teachers of a wide variety of courses, from composition to gateway courses and surveys, think about how to use modern satire in conceiving and structuring them.
Author: Erin Morton
Publisher: McGill-Queen's Press - MQUP
ISBN: 0228013283
Category : Art
Languages : en
Pages :
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Book Description
Bringing together fifteen scholars of art and culture, Unsettling Canadian Art History addresses the visual and material culture of settler colonialism, enslavement, and racialized diasporas in the contested white settler state of Canada. This collection offers new avenues for scholarship on art, archives, and creative practice by rethinking histories of Canadian colonialisms from Black, Indigenous, racialized, feminist, queer, trans, and Two-Spirit perspectives. Writing across many positionalities, contributors offer chapters that disrupt colonial archives of art and culture, excavating and reconstructing radical Black, Indigenous, and racialized diasporic creation and experience. Exploring the racist frameworks that continue to erase histories of violence and resistance, this book imagines the expansive possibilities of a decolonial future. Unsettling Canadian Art History affirms the importance of collaborative conversations and work in the effort to unsettle scholarship in Canadian art and culture.
Author: Kristina Huneault
Publisher: McGill-Queen's Press - MQUP
ISBN: 0773554033
Category : Art
Languages : en
Pages : 401
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Book Description
Notions of identity have long structured women’s art. Dynamics of race, class, and gender have shaped the production of artworks and oriented their subsequent reassessments. Arguably, this is especially true of art by women, and of the socially engaged criticism that addresses it. If identity has been a problem in women’s art, however, is more identity the solution? In this study of nineteenth- and early twentieth-century art in Canada, Kristina Huneault offers a meditation on the strictures of identity and an exploration of forces that unsettle and realign the self. Looking closely at individual artists and works, Huneault combines formal analysis with archival research and philosophical inquiry, building nuanced readings of objects that range from the canonical to the largely unknown. Whether in miniature portraits or genre paintings, botanical drawings or baskets, women artists reckoned with constraints that limited understandings of themselves and others. They also forged creative alternatives. At times identity features in women’s artistic work as a failed project; at other times it marks a boundary beyond which they were able to expand, explore, and exult. Bringing together settler and indigenous forms of cultural expression and foregrounding the importance of colonialism within the development of art in Canada, I’m Not Myself at All observes and reactivates historical art by women and prompts readers to consider what a less restrictive conceptualization of selfhood might bring to current patterns of cultural analysis.
Author: Douglas Hunter
Publisher: McGill-Queen's Press - MQUP
ISBN: 0228012937
Category : Art
Languages : en
Pages : 545
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Book Description
A captivating account of the formative years of one of Canada’s best-known artists, Jackson’s Wars follows A.Y. Jackson’s education and progress as a painter before he was a well-known artist and his time on the battlefield in Europe, before he cast his lot in with a group of like-minded Toronto artists. Jackson fought many battles: he was a feisty and opinionated combatant when he crossed swords with critics, collectors, museums, galleries, and fellow painters as an emerging artist. Moving from Montreal to Toronto in 1913, he became a key figure in a landscape movement that was determined to depict Canada in a bold new way, only to have a war dash the group's collective ambitions. Alone among his close associates, Jackson enlisted to fight with the 60th Infantry Battalion. Wounded at Sanctuary Wood in 1916, he returned to the field of combat as an official war artist – the first Canadian artist appointed, the only infantryman in the program – and militated for other Canadian appointments to what is now a storied moment of creation for such artists as F.H. Varley and Arthur Lismer. Jackson produced some of Canada’s most memorable depictions of the world’s first industrial-scale conflict, even as he reckoned with the anguish caused by the mysterious death of his close friend Tom Thomson. A life-changing event for soldiers, families, and nations alike, the First World War has been understood as a moment of stasis in the visual arts in Canada – the dead ground from which the Group of Seven emerged in the early 1920s. Douglas Hunter shows how Jackson’s war was a moment of intense transformation and artistic development on the canvas as well as an experience that tempered a young man into a constructive elder statesman for Canadian art. On his return home he was not only instrumental in the formation of the Group of Seven in Toronto, but a key figure for the Beaver Hall Group in Montreal. Jackson’s Wars is a story of brotherhoods of painters and soldiers, shot through with inspiration, ambition, trauma, and loss, on the home front as well as on the battlefield. Hunter widens and deepens A.Y. Jackson’s world of friends, family, and colleagues to capture the life of a complex man and the crucial events and relationships behind the creation of Canada’s best-known art collective.
Author: Kirsty Robertson
Publisher: McGill-Queen's Press - MQUP
ISBN: 0773558292
Category : Art
Languages : en
Pages : 449
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Book Description
Museums are frequently sites of struggle and negotiation. They are key cultural institutions that occupy an oftentimes uncomfortable place at the crossroads of the arts, culture, various levels of government, corporate ventures, and the public. Because of this, museums are targeted by political action but can also provide support for contentious politics. Though protests at museums are understudied, they are far from anomalous. Tear Gas Epiphanies traces the as-yet-untold story of political action at museums in Canada from the early twentieth century to the present. The book looks at how museums do or do not archive protest ephemera, examining a range of responses to actions taking place at their thresholds, from active encouragement to belligerent dismissal. Drawing together extensive primary-source research and analysis, Robertson questions widespread perceptions of museums, strongly arguing for a reconsideration of their role in contemporary society that takes into account political conflict and protest as key ingredients in museum life. The sheer number of protest actions Robertson uncovers is compelling. Ambitious and wide-ranging, Tear Gas Epiphanies provides a thorough and conscientious survey of key points of intersection between museums and protest – a valuable resource for university students and scholars, as well as arts professionals working at and with museums.
Author: John Osborne
Publisher: McGill-Queen's Press - MQUP
ISBN: 0228013321
Category : Photography
Languages : en
Pages : 209
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Book Description
Photography, one of the most influential inventions of the nineteenth century, has been shaped by Canadian innovators. Among them are two Quebec men who have flown beneath the radar in studies of the history of photography: the Smeaton brothers. Out of the Studio documents the life, oeuvre, and achievement of Charles Smeaton and his younger brother, John. Launched by the opening of their “photographic gallery” in 1861, they developed a reputation in Quebec for images of contemporaneous people, places, and events taken in challenging outdoor settings. Smeaton pictures of the aftermath of the Great Fire of Quebec in 1866 helped bring an understanding of the disaster to an international audience; images featuring the gold mining industry were displayed at the Exposition universelle in Paris the following year. When Charles travelled to Europe in 1866, he accomplished a feat previously thought impossible, taking the first successful photographs in the Roman catacombs. John moved to Montreal in 1869, where he worked for newspapers and developed techniques for the direct transfer of photographs into print without the necessity of intermediary engravings. Out of the Studio is the first comprehensive biographical study detailing the innovation and imagination of the Smeaton brothers and their legacy of images across two continents.
Author: Beverly Lemire
Publisher: McGill-Queen's Press - MQUP
ISBN: 0228013720
Category : Art
Languages : en
Pages : 560
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Book Description
Object Lives and Global Histories in Northern North America explores how close, collaborative looking can discern the traces of contact, exchange, and movement of objects and give them a life and political power in complex cross-cultural histories. Red River coats, prints of colonial places and peoples, Indigenous-made dolls, and an Englishwoman's collection provide case studies of art and material culture that correct and give nuance to global and imperial histories. The result of a collaborative research process involving Indigenous and non-Indigenous contributors, this book looks closely at the circumstances of making, use, and circulation of these objects: things that supported and defined both Indigenous resistance and colonial and imperial purposes. Contributors re-envision the histories of northern North America by focusing on the lives of things flowing to and from this vast region between the eighteenth and the twentieth centuries, showing how material culture is a critical link that tied this diverse landscape to the wider world. An original perspective on the history of northern North American peoples grounded in things, Object Lives and Global Histories in Northern North America provides a key analytical and methodological lens that exposes the complexity of cultural encounters and connections between local and global communities.
Author: Lianne McTavish
Publisher: McGill-Queen's Press - MQUP
ISBN: 0228009960
Category : Art
Languages : en
Pages :
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Book Description
After visiting hundreds of museums across Alberta, Lianne McTavish chronicles some of the most challenging and unexpected sites where the idea of the museum is being reshaped. The concept of the visit as a “voluntary detour” encapsulates the way visitors travel along backroads to find small-town and rural museums, as well as the agreement to turn away from standard museum scripts when they arrive. Addressing themes of place, land, colonization, rurality, heritage, childhood, and play, McTavish reveals the museum visitor as multifaceted, with locals and tourists often interpreting museums very differently. Case studies include the World Famous Gopher Hole Museum, Fort Chipewyan Bicentennial Museum, Blackfoot Crossing Historical Park, and the Museum of Fear and Wonder. A key chapter analyzing sites devoted to resource extraction explores how these places promote settler colonial understandings of land use. By contrast, Indigenous museums and cultural centres defy colonial messages in displays that adapt and refuse conventional museum formats. Honouring local, rural, and Indigenous knowledge, Voluntary Detours enriches critical accounts of the past, present, and future of museums.
