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When Marjorie Hill graduated in 1920 as Canada’s "first girl architect," she was entering a profession that had been established in Canada just 30 years earlier. For the Record, the first history of women architects in Canada, provides a fascinating introduction to early women architects, presented within the context of developments in both Europe and North America.

As a child she was "contrary,"as a young woman she defied convention to choose art over marriage, and as a middle-aged woman she was considered a full-blown eccentric. Listening to her own inner voice, Emily Carr created an art unique to British Columbia.

Artist Frances Gage, born in 1924 in Windsor, experienced both artistic recognition and acute despair in her life, yet she flourished in her work and as part of the contemporary Toronto art scene. A friend of Frances Loring and Florence Wyle, she developed a greater connection with the Group of Seven, working closely with Frederick Varley and producing reliefs of both him and A.Y. Jackson while working in Tom Thomson's shack. Frances remained focused and positive and became a successful sculptor, creating more than five hundred works of art.

This is the story of the creation and first four decades of one of Canada's pre-eminent cultural organizations. While it documents the history of Canada's National Arts Centre in Ottawa, it also tells the story of the arts in Canada from the 1960s to 2006.

Alexander Young Jackson (1882-1974) is a name that instantly conjures up images of our rugged northern landscape and the controversial Group of Seven. This is the first-ever full-length biography of one of Canada’s most beloved characters, and the first to examine in one book the artist, outdoorsman, soldier, teacher, debater, writer, and outspoken defender of modern art. Jackson spent nearly seventy years travelling Canada on a lifelong quest to, rendering his impressions of its diverse character on canvas and promoting a vibrant, uniquely Canadian style of painting.

Discover the scrapyard statue planned for University Avenue, the flapper-era "CN Tower" that led to a decade of litigation, and an electric light-rail transit network proposed in 1915.

Mythologizing Norval Morrisseau examines the complex identities assigned to Anishinaabe artist Norval Morrisseau. Was he an uneducated artist plagued by alcoholism and homelessness? Was Morrisseau a shaman artist who tapped a deep spiritual force? Or was he simply one of Canada’s most significant artists? Carmen L. Robertson charts both the colonial attitudes and the stereotypes directed at Morrisseau and other Indigenous artists in Canada’s national press. Robertson also examines Morrisseau’s own shaping of his image.

Guillermo Gómez-Peña has spent many years developing his unique style of performance-activism; his theatricalizations of postcolonial theory. In Ethno-Techno: Writings on Performance, Activism and Pedagogy, he pushes the boundaries still further, exploring what's left for artists to do in a post-9/11 repressive culture of what he calls 'the mainstream bizarre'.