Sujets :
Art et société - Canada
Arts - Aspect politique
Nationalisme et art - Canada
Art canadien
Caractéristiques nationales dans l'art

Dépouillement du document :
Introduction: Rethinking Relevance: Studying the Visual in Canada / Lynda Jessup, Erin Morton, Kirsty Robertson

1. PREPOSTEROUS HISTORIES OF THE PRESENT / Erin Morton
Struck by Likening: Homer Watson, Jack Chambers, Gerhard Richter, and the Force of Art World Analogies / Mark A. Cheetham
Feminist Art History in Canada: A “Limited Pursuit”? / Kristy A. Holmes
Dealing with Chiastic Perspectives: Global Art Histories in Canada / Alice Ming Wai Jim
The Location of/The Conditions for Art: On-Site Specifics and Site Adjustments / Annie Gérin

2. OUT WITH THE NEW / Imre Szeman
National Cultural Policy and the International Liberal Order / Barbara Jenkins
Visualizing the “New” North American Landscape / Sarah E.K. Smith
Arctic Culture/Global Indigeneity / Heather Igloliorte
The Vacant Lot: Who’s Buying It? / Richard William Hill

3. DISCONTIGUOUS DEPENDENCIES / Kirsty Robertson
The Aesthetics of the Territory-Nation-State and the “Canadian Problematique” / Rob Shields
Our Vacant Lot Is a Trailer Park: Why English Canada’s Perpetual Threat of Disappearing Keeps Film and Television Alive / Jennifer Vanderburgh
The Art of Conflict: Liberal Development after Neo-liberalism / Susan Cahill
Considering Sovereignty and Neo-liberalism within Indeterminate States and Self-Determined Spaces / Peter Conlin

Résumé :
Opening discussions about the possible futures of Canadian art history in a time of global analyses.
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.

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 709.71 N384 2014

• Ex. 1 — disponible