Arguably, public art is experienced daily by more people than most offerings in galleries, yet our notion of what constitutes public art is surprisingly limited. Public Art in Canada broadens the critical discussion by exploring public art's varied means of engaging with public space and the public sphere. Annie Gérin and James S. McLean have assembled contributions from new and established Canadian scholars, curators, and artists. Each contributor enlivens our understanding of public art as a practice and its place in the social and aesthetic formation of which it is a part. As a result, the book provides an overview of the current debates in the field of public art that are informed by the theories and critical literature of art history, communication studies, cultural studies, sociology, and urban studies. The rigorous essays and original works of art collected in this volume present a compelling demonstration of the strategies, aesthetic and otherwise, used by artists to elicit intellectual, sensual, or emotional responses that can only be obtained through artistic practices in public places. Public Art in Canada is a major contribution to the study of Canadian art and culture.

This edition of "The Canadian Encyclopedia is the largest, most comprehensive book ever published in Canada for the general reader. It is COMPLETE: every aspect of Canada, from its rock formations to its rock bands, is represented here. It is UNABRIDGED: all of the information in the four red volumes of the famous 1988 edition is contained here in this single volume. It has been EXPANDED: since 1988 teams of researchers have been diligently fleshing out old entries and recording new ones; as a result, the text from 1988 has grown by 50% to over 4,000,000 words. It has been UPDATED: the researchers and contributors worked hard to make the information as current as possible. Other words apply to this extraordinary work of scholarship: AUTHORITATIVE, RELIABLE and READABLE. Every entry is compiled by an expert. Equally important, every entry is written for a Canadian reader, from the Canadian point of view. The finished work - many years in the making, and the equivalent of forty average-sized books - is an extraordinary storehouse of information about our country. This book deserves pride of place on the bookshelf in every Canadian Home. It is no accident that the cover of this book is based on the Canadian flag. For the proud truth is that this volume represents a great national achievement. From its formal inception in 1979, this encyclopedia has always represented a vote of faith in Canada; in Canada as a separate place whose natural worlds and whose peoples and their achievements deserve to be recorded and celebrated. At the start of a new century and a new millennium, in an increasingly borderless corporate world that seems ever more hostile to nationaldistinctions and aspirations, this "Canadian Encyclopedia is offered in a spirit of defiance and of faith in our future. The statistics behind this volume are staggering. The opening sixty pages list the 250 Consultants, the roughly 4,000 Contributors (all experts in the field they describe) and the scores of researchers, editors, typesetters, proofreaders and others who contributed their skills to this massive project. The 2,640 pages incorporate over 10,000 articles and over 4,000,000 words, making it the largest - some might say the greatest - Canadian book ever published. There are, of course, many special features. These include a map of Canada, a special page comparing the key statistics of the 23 major Canadian cities, maps of our cities, a variety of tables and photographs, and finely detailed illustrations of our wildlife, not to mention the colourful, informative endpapers. But above all the book is "encyclopedic" - which the "Canadian Oxford Dictionary describes as "embracing all branches of learning." This means that (with rare exceptions) there is satisfaction for the reader who seeks information on any Canadian subject. From the first entry "A mari usque ad mare - "from sea to sea" (which is Canada's motto, and a good description of this volume's range) to the "Zouaves (who mustered in Quebec to fight for the beleaguered Papacy) there is the required summary of information, clearly and accurately presented. For the browser the constant variety of entries and the lure of regular cross-references will provide hours of fasination. The word "encyclopedia" derives from Greek expressions alluding to a grand "circle of knowledge." Our knowledge has expandedimmeasurably since the time that one mnd could encompass all that was known.Yet now Canada's finest scientists, academics and specialists have distilled their knowledge of our country between the covers of one volume. The result is a book for every Canadian who values learning, and values Canada.

Featuring more than 500 public art installations, this is the first comprehensive guidebook to explore Vancouver's urban treasures. The character of a city is revealed by the public art that neighborhoods and residents collectively place on streets and walls and in their public spaces. As a city known internationally for its breathtaking cityscapes and mountain backdrop, Vancouver has much to offer visually including the diverse and thriving public art in the city's neighborhoods. Engaging color photos and detailed descriptions that focus on the historical and cultural context of each art piece, its place in modern art and the artist who created it allow for a greater understanding of these urban treasures. Easy-to follow maps take readers to communities and destinations such as False Creek, Chinatown, the West End, Downtown, East Vancouver, VanDusen Garden, Stanley Park and the University of British Columbia. Tour the better known and the unknown art installations that are made from every possible media and include monuments, paintings, murals, tapestries, figures, First Nations art, relics, busts, fountains, gateways, mosaics, sculptures and reliefs.

Public art is produced and ‘lived’ within multiple, interlaced and contested political, economic, social and cultural-symbolic spheres. This lively collection is a mix of academic and practice-based writings that scrutinise conventional claims on the inclusiveness of public art practice. Contributions examine how various social differences, across class, ethnicity, age, gender, religion, ability and literacy, shape encounters with public art within the ambits of the design, regeneration and everyday experiences of public spaces. The chapters richly draw on case studies from the Global North and South, providing comprehensive insights into the experiences of encountering public art via a variety of scales and realms. This book advances critical insights of how socially practised public arts articulate and cultivate geographies of social difference through the themes of power (the politics of encountering), affect (the embodied ways of encountering), and diversity (the inclusiveness of encountering). It will appeal to scholars, students and practitioners of cultural geography, the visual arts, urban studies, political studies and anthropology.

Identifies and summarizes thousands of books, article, exhibition catalogues, government publications, and theses published in many countries and in several languages from the early nineteenth century to 1981.

The Everyday Practice of Public Art: Art, Space, and Social Inclusion is a multidisciplinary anthology of analyses exploring the expansion of contemporary public art issues beyond the built environment. It follows the highly successful publication The Practice of Public Art (eds. Cartiere and Willis), and expands the analysis of the field with a broad perspective which includes practicing artists, curators, activists, writers and educators from North America, Europe and Australia, who offer divergent perspectives on the many facets of the public art process. The collection examines the continual evolution of public art, moving beyond monuments and memorials to examine more fully the development of socially-engaged public art practice. Topics include constructing new models for developing and commissioning temporary and performance-based public artworks; understanding the challenges of a socially-engaged public art practice vs. social programming and policymaking; the social inclusiveness of public art; the radical developments in public art and social practice pedagogy; and unravelling the relationships between public artists and the communities they serve. The Everyday Practice of Public Art offers a diverse perspective on the increasingly complex nature of artistic practice in the public realm in the twenty-first century.

What can public art do for a community? How can city governments and others that create public art develop projects that build community and engage civil society? Creating Civic Engagement in Urban Public Art addresses these and other critical questions. It demonstrates how public art can build community unity, identity and cohesiveness. The focus of this original work is how cities engage their citizens through public art. What has been successful and what has failed? Through case studies of cities that have public art programs - some successful at citizen engagement others less so – the reader will learn how to design public art programs that build community.

Who's Who of Canadian Women is a guide to the most powerfuland innovative women in Canada. Celebrating the talents and achievement of over 3,700 women, Who's Who of Canadian Women includes women from all over Canada, in all fields, including agriculture, academia, law, business, politics, journalism, religion, sports and entertainment. Each biography includes such information as personal data, education, career history, current employment, affiliations, interests and honours. A special comment section reveals personal thoughts, goals, and achievements of the profiled individual. Entries are indexed by employment of affilitation for easy reference. Published every two years, Who's Who of Canadian Women selects its biographees on merit alone. This collection is an essential resource for all those interested in the achievements of Canadian women.

Bonadio brings together experts to provide the first comprehensive analysis of issues related to copyright in street art and graffiti. This book sheds light on the legal tools available for artists and offers policy and sociological insights to spur further debate. It will appeal to legal scholars and law practitioners around the world.

At a moment when the discipline of Canadian art history seems to be in flux and the study of Canadian visual culture is gaining traction outside of art history departments, the authors of Negotiations in a Vacant Lot were asked: is "Canada" - or any other nation - still relevant as a category of inquiry? Is our country simply one of many "vacant lots" where class, gender, race, ethnicity, and sexual orientation interact? What happens to the project of Canadian visual history if we imagine that Canada, as essence, place, nation, or ideal, does not exist? The argument that culture is increasingly used as an economic and socio-political resource resonates strongly with the popular strategies of "urban gurus" such as Richard Florida, and increasingly with government policy. Such strategies both contrast with, but also speak to traditions of Canadian state support for culture that have shaped the national(ist) discipline of Canadian art history. The authors of this collection stand at the multiple points where national culture and globalization collide, however, suggesting that academic investigation of the visual in Canada is contested in ways that cannot be contained by arbitrary borders. Bringing together the work of scholars from diverse backgrounds and illustrated with dozens of works of Canadian art, Negotiations in a Vacant Lot unsettles the way we have used "nation" to examine art and culture and looks ahead to a global future. Contributors include Susan Cahill (Nipissing University), Mark A. Cheetham (University of Toronto), Peter Conlin (Academia Sinica, Taipei), Annie Gérin (Université du Québec à Montréal), Richard William Hill (York University), Kristy A. Holmes (Lakehead University), Heather Igloliorte (Concordia University), Barbara Jenkins (Wilfrid Laurier University), Alice Ming Wai Jim (Concordia University), Lynda Jessup (Queen’s University), Erin Morton (University of New Brunswick), Kirsty Robertson (Western University), Rob Shields (University of Alberta), Sarah E.K. Smith (Queen’s University), Imre Szeman (University of Alberta), and Jennifer VanderBurgh (Saint Mary’s University).