Moving the Museum documents the reopening of the J. S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO's Indigenous art collection. The volume reflects the nation-to-nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history and colonialism. Lavishly illustrated with more than 100 reproductions, Moving the Museum: Indigenous + Canadian Art at the AGO features the work of First Nations artists -- including Carl Beam, Rebecca Belmore, and Kent Monkman -- along with work by Inuit artists like Shuvinai Ashoona and Annie Pootoogook. Canadian artists include Lawren Harris, Kazuo Nakamura, Joyce Wieland, and many others. Drawing from stories about our origins and identities, the featured artists and essayists invite readers to engage with issues of land, water, transformation, and sovereignty and to contemplate the historic and future representation of Indigenous and Canadian art in museums.

A bold and richly illustrated survey of the traditions and stylistic evolution of landscape painting in the Americas As nations in the Americas gained independence in the early 19th century, a pictorial landscape tradition emerged. By 1840, landscape painting had become the primary medium for articulating conceptions of land and nation in the development of North and South American cultural identity. Picturing the Americas offers the first comprehensive treatment of this genre on both American continents, bringing into dialogue the landscape traditions of artists practicing between 1840 and 1940. The catalogue is brilliantly illustrated with 260 color images, including works by U.S. artists Albert Bierstadt, Frederic Church, and Georgia O'Keeffe; Canadian artists Joseph Legare, Frances Anne Hopkins, and Lawren Harris; Mexico's Jose Maria Velasco, Uruguay's Joaquin Torres-Garcia, and Brazil's Tarsila do Amaral, among many others. Leading scholars offer a Pan-American perspective on these landscape traditions: essays consider the emergence of modernism, as well as how the development of landscape imagery reflects the intricately intertwined geographies and sociopolitical histories of the peoples, nations, regions, and diasporas of the two continents. Published in association with the Art Gallery of Ontario Exhibition Schedule: Art Gallery of Ontario (06/20/15-09/20/15) Crystal Bridges Museum of American Art (11/06/15-01/18/16) Pinacoteca do Estado de Sao Paulo, Brazil (02/27/16-05/29/16)

Influenced by artists such as Cindy Sherman, Lake's work demonstrates the innovation and continued influence of the 'Feminist Avant-Garde' movement on contemporary art today. Lake's work forms part of the public collection at the Albright Knox Art Gallery, Buffalo, NY as well as within numerous museums and galleries across Canada. Her work has been exhibited widely, including in the US at Jack Shainman Gallery, New York; Los Angeles Museum of Contemporary Art; Geffen Contemporary, Los Angeles; National Museum of Women in Art, DC and Santa Monica Museum of Art, California. This multi-author publication considers how Lake's ideas and practice developed over time from her hometown of Detroit to Montreal to Toronto, informed by the cultural character of each city. Featuring celebrated works as well as newly commissioned series, Introducing Suzy Lake reveals the richness and originality of her accomplishments as one of North America's most influential artists working today.

Two generations of Inuit artists challenging the parameters of tradition.Kenojuak Ashevak shot to fame in 1970 when Canada Post printed The Enchanted Owl,a print of a black-and-red plumed nocturnal bird, on a postage stamp. She later became known as the magic-marker-wielding "grandmother of Inuit art," famous for her fluid graphic storytelling and her stunning depictions of wildlife. She was a defining figure in Inuit art and one of the first Indigenous artists to be embraced as a contemporary Canadian artist.Ashevak's legacy inspired her nephew, Timootee (Tim) Pitsiulak, to take up drawing at the Kinngait Studios. In his relatively short career, he became a popular figure, known for drawing animal figures with a hunter's precision and capturing the technological presence of the South in Nunavut.Tunirrusiangit, "their gifts" or "what they gave" in Inuktitut, celebrates the achievements of two remarkable artists who challenged the parameters of tradition while consistently articulating a compelling vision of the Inuit world view. Published to coincide with a major exhibition at the Art Gallery of Ontario, opening on 16 June and continuing until late August, Tunirrusiangit features more than 60 reproductions of paintings, drawings, and documentary photographs. Completing the book are essays by contemporary artists and curators Jocelyn Piirainen, Anna Hudson, Georgiana Uhlyarik, Koomuatuk Curley, Laakkuluk Williamson Bathory, and Taqralik Partridge that address both the past and future of Inuit identity.

Exploring the experimental energy of an era,Toronto: Tributes + Tributaries, 1971-1989brings together more than 100 works by 65 artists and collectives to highlight an innovative period in Toronto art history. Amidst the social and political upheavals of their time, the artists that emerged in Toronto during the 1970s and 1980s pushed the boundaries of conventional painting, sculpture, and photography, exploring new ways of art making.Organized thematically and punctuated by references to Toronto and its cityscape, this unique publication highlights the era's preoccupation with ideas of performance, the body, the image, self-portraiture, storytelling, and representation. Featured artists include Michael Snow, Joanne Tod, the Clichettes, Duke Redbird, Barbara Astman, Robin Collyer, Robert Houle, Carol CondA (c), and Carl Beveridge, as well as photographer June Clarke, illustrator Ato Seitu, dub poet Lillian Allen, and many others.