ON THE WALL/ OFF THE WALL is Propeller’s annual fundraising event in support of its ongoing commitment to innovative exhibitions and programming. OFF THE WALL will feature over 100 donated works, hor ...

The day before the unveiling of mistikôsiwak (Wooden Boat People), the Met published a text by Met curator Randall Griffey, titled “ Kent Monkman Reverses Art History’s Colonial Gaze, ” in which he ...

Note to the reader: I am using this monthly column to think out loud in public about questions and controversies arising from my current research for a book about contemporary Indigenous art from 1980 ...

With the support of the Aboriginal Curatorial Collective, academic and writer Billy-Ray Belcourt completed a series of articles for Canadian Art over the last year, in collaboration with our ...

The Smithsonian American Art Museum in Washington, DC, has an extensive collection of painter Edward Mitchell Bannister’s work, mostly oil paintings depicting pastoral life. Although Bannister was ...

Richelle Bear Hat The suture between the wind-blown, yellow prairie grass and the fathomless blue of prairie skies has been a line of perennial fascination for artists. In Calgary-based Blackfoot and ...

The Black Curators Forum (BCF) is a knowledge-sharing initiative that fosters dialogue and social change, addressing unique challenges and highlighting the marginalized, suppressed and forgotten ...

The theft happened September 4, 1972. It was Labour Day; the same day Canada’s hockey team won game two against the USSR in the Summit Series. One is remembered in volumes; the other, barely at all.

Vancouver’s Catherine de Montreuil talks about VALU CO-OP, a brand new initiative that looks to subvert capitalist models through advocacy and mutual aid ...

As dancer, choreographer and Black Lives Matter Toronto co-founder Rodney Diverlus has stated, “I wonder how many Black employees are reading their workplace’s Black Lives Matter statements knowing ...

Luna’s Artifact Piece—where he turned his Indigenous body into a museum exhibit—was a 1980s breakthrough. But the power of his work doesn't end there.

The Massey Report, published in 1951, still shapes Canada's arts policy today. Its emphasis on “the projection of Canada abroad” and the necessity of “cultural export” as means of building power is ...