National Network for Equitable Library Service

Harold Mortimer-Lamb’s name is in the index of almost every book written on the history of Canadian art, yet his place in that world has never been clear. Photographer, writer, painter, promoter—he was a man of many parts and the ideal patron and friend to some of Canada's most famous artists, including A.Y. Jackson, Emily Carr, and Jack Shadbolt. At the centre of his story are his relationships with painter Frederick Varley and young student Vera Weatherbie, whom Mortimer-Lamb, at the age of seventy, eventually married, when she was just thirty.

A vividly wrought memoir, Last Dance in Shediac is a collection of the author’s personal memories of her mother—celebrated Canadian artist Molly Lamb Bobak—and a tender meditation on life and death. Molly Lamb Bobak (1922–2014) was the first woman to travel overseas as an official Canadian war artist. She was also the daughter of famous Canadian artist Harold Mortimer-Lamb, whose contemporaries included Emily Carr, A.Y. Jackson, and Jack Shadbolt. In this homage to her artist mother, Anny Scoones rounds out her mother’s public profile by revealing personal stories.

Critics Who Know Jack: Urban Myths, Media and Rock & Roll is a collection of essays, memoirs and critiques on subjects ranging from TV programming, film and literature to rock journalism, with commentary on the interpretation of artistic expression across conventional and social media. From Feng-Shui to conspiracy theory, Maviglia debunks the rise of faddishness and new age trends that undervalue primary sources in music, literature, theatre, film, and urban living.

City Hall proclaimed 2006 the Year of Creativity. ‘Live With Culture’ banners flap over the city. And across the city, donors are ponying up millions for the ROM and the AGO. Culture’s never had it so good. Right? The State of the Arts explores the Toronto arts scene from every angle, applauding, assailing and arguing about art in our fair burg. The essays consider the big-ticket and the ticket-free, from the Opera House and the CNE to the subconscious art of graffiti eradication and underground hip-hop.

Steve Reinke is one of the most intriguing artists we've got; his scope is enormous, his imagination absolutely singular. His video art — The Hundred Videos, Anthology of American Folk Song, Anal Masturbation and Object Loss — practically define the genre. Reinke tells us, in 'Kitchener–Berlin,' his appreciation of Philip Hoffman's film of that title, that experimental video is centred around voice — a decidedly peculiar and literary notion. It makes good sense, then, that this experimental video artist is also an accomplished prose writer.

The word "magyarázni" (pronounced MUG-yar-az-knee) means "to explain" in Hungarian, but translates literally as "make it Hungarian." This faux-Hungarian language primer, written in direct address, invites readers to experience what it's like to be "made Hungarian" by growing up with a parent who immigrated to North America as a refugee. In forty-five folk-art visual poems each paired with a written poem, Hajnoczky reveals the beauty and tension of first-generation cultural identity.

Nominated for a 2014 Saskatchewan Book Award Françoise Mouly, an editor and publisher of uncommon taste and creativity, and an artist in her own right, has spent nearly four decades transforming comics. With her husband, Art Spiegelman, Mouly founded the landmark magazine RAW, which showcased artists such as Ben Katchor, Chris Ware, Charles Burns and Sue Coe, and, along with Spiegelman's Maus, brought an avant-garde sensibility to the popular art form.

Toronto is a concrete city. From international landmarks to civic buildings to cultural institutions to metropolitan infrastructure and the single-family home, reminders of the era of 'brutalist' architecture surround Torontonians. But for how long? As architectural fashion has shifted to the glass-and-steel neomodernism of today, these concrete structures have been increasingly ignored - and in some cases, demolished. Concrete Toronto takes readers on a guided tour of Toronto's concrete architecture.

Walter De Maria's "Lightning Field" is 400 stainless steel poles, positioned 220 feet apart, in the desert of central New Mexico. Over the course of several visits, it becomes, for Raicovich, a site for confounding and revealing perceptions of time, space, duration, and light; how changeable they are, while staying the same.

Published in 1951, Louis Cheskin's groundbreaking Color For Profit initiated a scientific approach to color and design. Cheskin's philosophy rotated around three core concepts: good taste has little to do with how well a design sells; asking customers what they think of a package design is not a useful way to measure effectiveness; and colors have symbolic meanings.