For most contemporary art critics, the term “decorative” is pejorative, implying that a work, while perhaps pretty, lacks content and depth. The decorative arts, it is commonly assumed, have two features that are at odds with what we think of as fine art: decorative art is typically associated with function – glasses, plates, bowls, jars, carpets, clothes – and its purpose is to project a style or mood rather than to transmit meaning and incite dialogue.
Indigenous peoples of the Arctic have been making art for thousands of years. In this exhibit, we will look at an ancient artifact fashioned by unknown hands, the work of the first generation of Inuit artists, and two contemporary Inuit artists whose work has become part of the international art world.
This Collection explores visual arts in Canada through articles, photo galleries, Heritage Minutes and more, and is presented in partnership with Charles Bronfman’s Claridge Collection. Above image: Untitled. Acrylic on canvas, painted by Max Johnson. Courtesy of the Charles Bronfman's Claridge Collection.
Pendant les six premières années de son existence, il est géré comme une coopérative par les membres fondateurs Gyllian Raby (sa directrice artistique), Michael Green, Blake Brooker, Nigel Scott, Kirk Miles, Jan Stirling, George McFaul et Marianne Moroney. En 1988 cependant, G.
Le Prairie Theatre Exchange fait ses débuts en 1972 sous le nom de Manitoba Theatre Workshop (MTW). Il est créé dans le but de remplacer la Manitoba Theatre School (dirigée par le MANITOBA THEATRE CENTRE), fermée récemment et qui offrait des cours d'interprétation aux enfants et aux adolescents.