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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 first collection of scholarly essays on women and art in Canadian history.
More Than Words provides an introduction to both communication theory and practice. The authors cover the basics of communication, including communication between individuals, between groups, in organizations, and through the mass media and new technologies. The book provides a structured approach to the subject and a source of reference, with examples of the application of ideas, short practical activities, resource lists and a glossary of terms. The second edition has been fully revised and updated to take into account new developments in communication and media studies: it contains an expanded section on practical communication and media skills, writing skills, designing leaflets and producing audio and video material, including scripting and planning. It is illustrated with new models and photographs and has checklist summaries for easy revision purposes.
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This volume makes available, in English, most of the essays written to accompany the Canadian Museum of Civilization’s exhibition of the same name. Not included, are the essays by Gisela Hoffman, Bernadette Driscoll and Elizabeth McLuhan and the exhibition catalogue section which appeared in the original German publication. This book provides an overview of the evolution of contemporary Native Canadian art. Regional styles as well as individual artistic styles are discussed and the various subjects, themes and techniques reflected in the works are examined.
Inuit--sometimes referred to as Eskimo--art is the primary art form of Canada and has a large international following, particularly in the United States, Japan, and Germany. Despite its popularity, the complete history of Inuit art has never been presented. This is the first chronological synthesis of Inuit art, following its development from prehistory, through early American and European exploration, to the recognition of Inuit art as a commercial possibility, and up to the present. There is a particular emphasis on contemporary art and artists, and the years 1950 through 1997 are each given separate, detailed treatment in regard to important shows and events. This history is appropriate both for the beginning admirer of Inuit art and for those already well immersed in it.
The authors cover the essential elements of communication, including communication between individuals and groups, in organizations and through mass media and new technologies.
Profiling 400 prominent artists of the 20th century, each entry in this reference includes a biographical profile; lists of exhibitions, public galleries and museums; a bibliography of books and articles by and about the entrant; and presents a critical perspective on the artist's work.
In the 1950s, Chauncey C. Nash started collecting Inuit carvings just as the art of printmaking was introduced in Kinngait (Cape Dorset). His collection of early Inuit sculpture and prints represents a vibrant period in contemporary Inuit art. Drawing from ethnology, archaeology, art history, and cultural studies, Lutz tells the collection’s story.