Art

A guide for creatives to making impactful, socially engaged art projects.

Flash mobs come and go, but purposeful creativity can change communities. Are you a creative (aspiring or otherwise) who is curious about how you can apply your skills to activist, socially engaged art projects? Whether you paint, sew, sing, build, weld, or rhyme, The Creative Instigator's Handbook explores how to take that big project you've been dreaming about and actually make it happen.

In response to the challenging times that we live in, The Creative Instigator's Handbook will inspire readers to use their creativity to spur change in the world around them. Guiding readers through the various aspects of a project from ideation to final documentation, the book examines the relationship between creative leadership, community art projects, and social justice, and includes the perspectives of 23 creative instigators who have stretched the boundaries of what "art" should or shouldn't do.

The Creative Instigator's Handbook will appeal to creatives willing to expand their comfort zones by jumping into the fray and doing some outrageous, inspired rabble-rousing of their very own. Full-colour throughout.

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272 pages | 8.50" x 8.00" | Paperback

The story of an overlooked group of cultural visionaries

The “Micmac Indian Craftsmen” of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions — including at Expo 67 — and their designs were featured on prints, silkscreened notecards, jewelry, tapestries, and even English porcelain.

Primarily self-taught and deeply rooted in their community, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent.

By 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this groundbreaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, Wabanaki Modern features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.

Wla atukuaqn na ujit ta'nik mu ewi'tamuki'k tetuji kelulkɨpp ta'n teli amaliteka'tijik

Wla “Mi'kmewaqq L'nue'k amaliteka'tijik” tlo'ltijik Elsipogtog (amskweseweyekk i'tlui'tasikɨpp Big Cove) poqji wuli nenupnikk wla amaliteka'tijik 1960ekk. Je wekaw wutlukowaqnmuwow ika'tasikɨpp wikatikniktuk aqq ne'yo'tasikɨpp ta'n pukwelk ta'n wen nmitew — je wekaw Expo 67 — aqq ta'n koqoey kisi napui'kmi'tipp tampasɨk koqoey eweketu'tij stike' l'taqnewi'kasik, napui'kn misekn, wi'katikne'ji'jk, meko'tikl kuntal, kaqapitkl l'taqa'teke'l, aqq wekaw akalasie'we'k eptaqnk. Nekmow na kekina'masultijik aqq melki knukwi'tij ta'n tett telayawultijik, nekmow na amskewsewa'jewaqq l'nu'k tel nenujik ujit ta'n teli amaliteka'tijik ujit Atlantic Canada. Pema'lkwi'titl a'tukuaqnn ta'n sa'qewe'l, ta'n wejiaqel a'tukuaqnn Wabanaki, l'tu'tipp kaqasi milamu'k koqowey toqo eweketu'titl wutpitnual tetuji moqɨtekl, ma'muntekl, aqq weltekl.

Wekaw 1966ekk, kpno'l pun apoqnmuapni wla amaliteka'tikete'jɨk jel kaqnma'tijik ta'n koqoey nuta'tipp, amuj pana pun lukutipnikk, aqq tel awantasuwalutki'k. Nike', amskwesewey, wla a'tukuaqn tetuji msɨki'kɨpp wla wut lukewaqnmuwow etel kaqi a'tukwasikk. Wije'tew meski'k neya'tmk Beaverbrook Art Gallery pana'siktetew 2022al, Wabanaki Modern na pema'toql wikikaqnn ujit ta'n pemiaqɨpp wla tetuji wulamu'kɨpp kisitaqnne'l telukutijik, maskutekl sa'qewe'l napuikasikl toqo nemu'jik etl-lukutijik wla lukewinu'k, aqq sikte wultek aqq welamu'k ta'n koqoey kisitu'tij.

L'histoire d'un groupe de visionnaires culturels ignorés

Un groupe d'artisans mi'kmaw d'Elsipogtog (autrefois Big Cove) au Nouveau-Brunswick se fit connaître à travers le Canada au début des années 1960. À l'apogée de leur renommée, les Micmac Indian Craftsmen firent l'objet d'articles dans des publications d'un océan à l'autre. Leur travail figura dans des livres et des expositions — dont Expo 67 à Montréal — et leurs œuvres graphiques furent reproduites sous forme de gravures et de sérigraphies, et elles ornèrent de la papeterie, des bijoux, des tapisseries et même de la porcelaine anglaise.

En grande partie autodidactes et solidement enracinés dans leur communauté, les Micmac Indian Craftsmen furent parmi les premiers artistes autochtones modernes au Canada atlantique. En s'inspirant de récits traditionnels wabanakis, ils fabriquaient à la main une gamme variée d'objets raffinés, évocateurs et porteurs d'un sens profond.

En 1966, toutefois, le gouvernement retira son soutien. Les Craftsmen perdirent leur financement, la production cessa peu après et leur œuvre finit par être oubliée. Une nouvelle publication relate maintenant, pour la première fois, l'histoire complète de cette coopérative innovatrice et de ses réalisations. Publié dans le cadre d'une grande exposition qui a lieu à la Galerie d'art Beaverbrook en 2022, Wabanaki Moderne comprend des textes sur l'histoire de cet atelier dynamique, des photographies d'archives des artisans et de superbes illustrations couleur de leurs œuvres.

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Delivered in three languages: English, Mi'kmaw, and French

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228 pages | 10.00" x 10.00" | Paperback | 96 Colour Reproductions and Photos, 26 Black and White Illustrations and Archival Photos 

asowacikanisa: A Guide to Small Métis Bags is a continuation in the series of “how to” books on Métis material culture. This resource will guide you in the step-by-step process on how to create two different bags, a tobacco pouch and a sash bag, which were traditional utilitarian items used by the Metis. These bags are used today to carry traditional medicines and other treasured items. Complete with historical information, easy to follow instructions, detailed photos and accompanying DVD, this resource provides everything you need to know to make your own traditional bags. (Materials not included).

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Grade Level: Secondary / Post Secondary / Adult 

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8" x 10" | 46 Pages

Coalesce is a fusion of distinct Anishinaabeg aesthetics of the Great Lakes region with refuse from Western society’s technological and digital age in order to intentionally shift an object’s materiality and its accepted paradigm within the physical world. It is through the integration and juxtaposition of recognizable materials used in the making of Anishinaabeg material culture, such as glass beads and porcupine quills, with new-found materials, such as electronic components (capacitors and resistors), that this body of work disproves any notion of Anishinaabeg cultural stasis. Coalesce demonstrates the continuum of Anishinaabeg innovation and expression by making use of disparate materials that knowingly coalesce and segue seamlessly into contemporary Anishinaabeg artistic tradition and material culture.

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48 pages | 7.00" x 8.50"

A collection of perspectives by and about Indigenous Toronto, past, present, and future.

Beneath every major city in North America lies a deep and rich Indigenous history that has been colonized, paved over, and ignored. Few of its current inhabitants know that Toronto has seen 12,000 years of different peoples, including the Haudenosaunee, the Anishinaabe, the Huron-Wendat, and the Mississaugas of the New Credit, and a vibrant culture and history that thrives to this day.

With original contributions by Indigenous elders, scholars, journalists, artists, activists, and historians about art, food, health, and more, this unique anthology explores the poles of erasure and cultural continuity that have come to define a crossroads city-region that was known as a meeting place long before the arrival of European settlers.

Contributors include political scientist Hayden King, historian Alan Corbiere, musician Elaine Bomberry, artist Duke Redbird, playwright Drew Hayden Taylor, educator Kerry Potts, writer/journalist Paul Seesequasis and former Mississaugas of the New Credit chief Carolyn King.

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192 pages | 5.50" x 8.50"

In a gorgeously illustrated exploration of the art of Michael Nicoll Yahgulanaas, Mischief Making disproves any notion that play is frivolous. Deploying mischievous tactics, Yahgulanaas shines a spotlight on serious topics.

Expressive and exuberant, comic and imaginative: these characteristics suffuse the work of the internationally recognized creator of Haida manga. His distinctive style stretches, twists, and flips the formlines of classic Haida art to create imagery that resonates with the graphic vitality of Asian manga. Mischief Making delineates the evolution of the artist’s visual practice into a uniquely hybrid aesthetic, uncovering its philosophical underpinnings. Initially focused on paper-based narratives, his work has expanded into painted canvases, mixed-media installations, repurposed automobile parts, large-scale public art projects, and animated forms. Yet despite its mutability, Yahgulanaas’s art is consistently engaged with contemporary cultural concerns, investigating the intersections of Indigenous and other worldviews, the politics of land, cultural heritage, and global ecological affairs.

Mischief Making reveals the artist’s deep understanding of the seriousness of play. His refiguring of lines and stories opens up a realm in which the disruption of what’s expected allows different ways of experiencing, knowing, and seeing the world to emerge.

Reviews
"This is an exciting journey through the refreshing life’s work of one of Canada’s foremost Indigenous artists. Learning from Nicola Levell’s insightful analysis opens the eyes to a wondrous world beyond stale and superseded categories of ‘tradition’, ‘Western’ and ‘Indigenous’! Highly recommended!" — Arnd Schneider, professor, Department of Social Anthropology, University of Oslo

"The Northwest Coast dances with the East and 8.5 tons of stainless steel/copper/marble, then strides to Emma Lake. A comprehensive look at the work of Yahgulanaas – we witness in text, he is doing what he can – just like the hummingbird."

sînapân kîskasâkâs: A Guide to Making Contemporary-Style Métis Ribbon Skirts will assist you in the creation of your own Métis style ribbon skirt. Authors, Bonny Johnson and Leah Marie Dorion guide you through the process with detailed instructions which are accompanied by photographs of each step. This resource comes with a companion DVD, and introductions from both authors on the historical and contemporary uses of these traditional Métis style ribbon skirts.

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Grade Level: Secondary, Post Secondary, Adult 

Miniature canoes, houses and totems, and human figurines have been produced on the Northwest Coast since at least the sixteenth century. What motivates Indigenous artists to produce these tiny artworks? Are they curios, toys, art, or something else?

So Much More Than Art is an original exploration of this intricate cultural pursuit. Through case studies and conversations with contemporary Indigenous artists, Jack Davy uncovers the ways in which miniaturization has functioned as a subtle form of communication and, since contact, resistance in the face of aggressive colonization. His interviewees dismiss the persistent assertion running through studies of material culture that miniatures were no more than toys for children or souvenir trinkets. They are in fact crucial components of satirical opposition to colonial government, preservation of traditional techniques, and political and legal negotiation.

This nuanced study of a hitherto misunderstood practice convincingly demonstrates the importance of miniaturization as a technique for communicating complex cultural ideas between generations and communities, and across the divide that separates Indigenous and settler societies. So Much More Than Art is also a testament to the resilience of the Indigenous peoples of the Northwest Coast.

Students and scholars of anthropology, museum studies, Indigenous studies, and art history will find this work a valuable addition to their libraries, as will museum, arts, and heritage professionals.

Reviews
"So Much More Than Art goes beyond other studies by demonstrating how Northwest Coast Indigenous artists use and have used miniaturization not only as an artistic practice but in provoking interventions in social relations and as a strategy of communication and resistance in the face of colonialism." — Karen Duffek, curator, Contemporary Visual Arts and Pacific Northwest, Museum of Anthropology at UBC

"Drawing heavily on the knowledge and opinions of Indigenous experts from communities all along the coast, Jack Davy invites us to think more critically about Northwest Coast miniatures, and leaves us with a framework with which to do so." — Kaitlin McCormick, curator, Western Ethnology, Canadian Museum of History

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Table of Contents

Introduction

1 Practice and Play: The Makah

2 The Haida String: Northern Peoples

3 Tiny Dancers and Idiot Sticks: The Kwakwaka’wakw

4 Small Foundations: Tulalip Tribes

5 An Elemental Theory of Miniaturization

6 Analysis of Technique and Status

7 Miniature Realities

Notes; References; Index

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224 pages | 6.00" x 9.00" | 21 Photographys, 7 Tables, 2 Charts/Diagrams | Hardcover 

Style is not just the clothes on our backs—it is self-expression, representation, and transformation.

As a fashion-obsessed Ojibwe teen, Christian Allaire rarely saw anyone that looked like him in the magazines or movies he sought out for inspiration. Now the Fashion and Style Writer for Vogue, he is working to change that—because clothes are never just clothes. Men’s heels are a statement of pride in the face of LGTBQ+ discrimination, while ribbon shirts honor Indigenous ancestors and keep culture alive. Allaire takes the reader through boldly designed chapters to discuss additional topics like cosplay, makeup, hijabs, and hair, probing the connections between fashion and history, culture, politics, and social justice.

Reviews
“A vibrant read about the connections between fashion, culture, and social justice.”  — Kirkus Reviews, 02/23/21

“The book to appeal to a wide age range. It is important that readers of all ages be given the opportunity to learn that there are others who have had the same or similar experiences of feeling that they were different from their peers because of the way that they looked or dressed. Highly Recommended.”  — CM Reviews, 02/12/21

“Dazzling and empowering . . . Fab drag queens, genderqueer and BIPOC YouTubers demoing makeup, plus-size and gender-bending cosplayers, men wearing high heels and fem fashion—they’re all here, a proud and dazzling explosion of confetti transforming the landscape.” — Booklist, *starred review, 03/02/21

Educator Information
Recommended for ages 12+ 

Common Core Correlations
CCSS.ELA-Literacy Strand-Reading literature:
W.6.1,1a,1b,1c,1d,1e
SL.6.1,1a,1b,1c,1d,1
RI.6.1,2,3,4,5,6,7,8
L.6.1,1a,2,2a,2b,3,3

Reading Level: Lexile 1070L 

The Power of Style is a Top Ten Quick Picks for Reluctant Young Adult Readers, YALSA

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96 pages | 8.00" x 10.00"

Where the Power Is: Indigenous Perspectives on Northwest Coast Art is a landmark volume that brings together over eighty contemporary Indigenous knowledge holders with extraordinary works of historical Northwest Coast art, ranging from ancient stone tools to woven baskets to carved masks and poles to silver jewellery. First Nations Elders, artists, scholars, and other community members visited the Museum of Anthropology at the University of British Columbia to connect with these objects, learn from the hands of their ancestors, and share their thoughts and insights on how these belongings transcend the category of “art” or “artifact” to embody vital ways of knowing and being in the world. Texts by the authors sketch the provenance of the objects, and, in dialogue with the commentators, engage in critical and necessary conversations around the role of museums that hold such collections.

The voices within are passionate, enlightening, challenging, and humorous. The commentators speak to their personal and family histories that these objects evoke, the connections between tangible and intangible culture, and how this “art” remains part of Northwest Coast Indigenous peoples’ ongoing relationships to their territories and political governance. Accompanied by over 300 contemporary and historical photographs, this is a vivid and powerful document of Indigenous experiences of reconnection, reclamation, and return.

Featuring contributions by:

ʼLiyaaʼmlaxha—Leonard Alexcee, Goldʼm Nitsʼk—Wii Gandoox—Mona Alexcee, Widiimas—Peter Alexcee, Kʼodalagalis—Byron Alfred, Skwiixta—Karen Anderson, Chaudaquock—Vera Asp, Don Bain, Stan Bevan, Jo Billows, Dempsey Bob, Raymond Boisjoly, Naxshageit—Alison Bremner, Wákas—Irene Brown, Tʼaakeit Gʼaayaa—Corey Bulpitt, Vanessa Campbell, Jisgang—Nika Collison, Nalaga—Donna Cranmer, Gloria Cranmer Webster, Joe David, Guud san glans—Robert Davidson, ʼWalas Gwaʼyam—Beau Dick, Idtaawgan—Mervin Dunn, Sharon Fortney, Yéil Ya-Tseen—Nicholas Galanin, qiyəplenəxw—Howard E. Grant, sʔəyəłəq—Larry Grant, taχwtəna:t—Wendy Grant-John, Müsiiʼn—Phil Gray, Tʼuuʼtk—Robin R.R. Gray, Wii Gwinaał—Henry Green, secəlenəxw—Morgan Guerin, Haaʼyuups, KC (Kelsey) Hall, J̌i:ƛʼmɛtəm—Harold Harry, qoqʼwɛssukwt—Katelynn Harry, 7idansuu—James M. Hart, YaʼYa Heit, Kwakwabalasamayi Hamasaka—Alan Hunt, Corrine Hunt, Tłaliłilaʼogwa—Sarah Hunt, Tsēmā Igharas, Pearl Innis, Haʼhl Yee—Doreen Jensen, Kwankwanxwaligi—Robert Joseph, kwəskwestən—James Kew, Gigaemi Kukwits, Peter Morin, Nugwam ʼMaxwiyalidzi—Kʼodi Nelson, ʼTayagilaʼogwa—Marianne Nicolson, Gwiʼmolas—Ryan Nicolson, Jaad Kuujus—Kwaxhiʼlaga—Meghann OʼBrien, Ximiq—Dionne Paul, A-nii-sa-put—Tim Paul, Xwelíqwiya—Rena Point Bolton, Oqwiʼlowgʼwa—Kim Recalma-Clutesi, Skeena Reece, Nʼusi—Ian Reid, Greg A. Robinson, Siʼt Kwuns—Isabel Rorick, Maximus (Max) Savey, Anaht pi ya tuuk—Sheila Savey, Linda Smith, Xsim Ganaaʼw—Laurel Smith Wilson, θəliχwəlwət—Debra Sparrow, səlisəyeʔ—Leona Sparrow, Wedłidi Speck, Marika Echachis Swan, Simʼoogit Gawaakhl of Wilps Luuyaʼas—Norman Tait, Snxakila—Clyde Tallio, Nakkita Trimble, Xˇùsəmdas Waakas—Ted Walkus, Nuuwagawa—Evelyn Walkus Windsor, Hiłamas—William Wasden, Jr., Tsamiianbaan—William White, Tania Willard, Skiljaday—Merle Williams, Gid7ahl-Gudsllaay Lalaxaaygans—Terri-Lynn Williams-Davidson, Tʼɬaɬbaʼlisameʼ—Tʼɬalis—Mikael (Mike) Willie, Lyle Wilson, Nathan Wilson, and Michael Nicoll Yahgulanaas.

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384 pages | 10.31" x 11.96" | Hardcover

When the author learns of the death of her brother overseas, she embarks on a journey to bring him home. Through memories and dreams of all they shared together and through her Dene traditions, she finds comfort and strength. The lyrical art and story leave readers with a universal message of hope and love.

Educator Information
Recommended for ages 12+ (Mature Picture Book)

In this emotional illustrated picture book, author and illustrator Lisa Boivin tells the story of the loss of her brother and the journey with her Dene traditions to find comfort and the strength to move on from her grief.

This book explores themes of death, memory, remembrance, comfort, and specifically Dene perspectives on death. 

The author's deeply personal story is revealed through exquisite artwork and text that are grounded in her family's Dene culture.

Lisa Boivin's experiences as an artist and bioethicist inform her story, expressed in the Indigenous way of passing knowledge through images.

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56 pages | 6.50" x 10.00" | Colour illustrations throughout

From Griffin Poetry Prize winner Jordan Abel comes a groundbreaking and emotionally devastating autobiographical meditation on the complicated legacies that Canada's reservation school system has cast on his grandparents', his parents' and his own generation.

NISHGA is a deeply personal and autobiographical book that attempts to address the complications of contemporary Indigenous existence. As a Nisga'a writer, Jordan Abel often finds himself in a position where he is asked to explain his relationship to Nisga'a language, Nisga'a community, and Nisga'a cultural knowledge. However, as an intergenerational survivor of residential school--both of his grandparents attended the same residential school in Chilliwack, British Columbia--his relationship to his own Indigenous identity is complicated to say the least.

NISHGA explores those complications and is invested in understanding how the colonial violence originating at the Coqualeetza Indian Residential School impacted his grandparents' generation, then his father's generation, and ultimately his own. The project is rooted in a desire to illuminate the realities of intergenerational survivors of residential school, but sheds light on Indigenous experiences that may not seem to be immediately (or inherently) Indigenous.

Drawing on autobiography, a series of interconnected documents (including pieces of memoir, transcriptions of talks, and photography), NISHGA is a book about confronting difficult truths and it is about how both Indigenous and non-Indigenous peoples engage with a history of colonial violence that is quite often rendered invisible.

Reviews
“With NISHGA, Jordan Abel has reinvented the memoir, incorporating personal anecdotes, archival footage, legal documentation, photos and concrete poetry to create an unforgettable portrait of an Indigenous artist trying to find his place in a world that insists Indigeneity can only ever be the things that he is not. Abel deftly shows us the devastating impact this gate-keeping has had on those who, through no decisions of their own, have been ripped from our communities and forced to claw their way back home, or to a semblance of home, often unassisted. This is a brave, vulnerable, brilliant work that will change the face of nonfiction, as well as the conversations around what constitutes Indigenous identity. It's a work I will return to again and again.” —Alicia Elliott, author of A Mind Spread Out on the Ground

“In NISHGA, Jordan Abel puts to use the documentary impulse that has already established him as an artist of inimitable methodological flair. By way of a mixture of testimonial vignettes, recordings of academic talks, found text/art, and visual art/concrete poetry, Abel sculpts a narrative of dislocation and self-examination that pressurizes received notions of “Canada” and “history” and “art” and “literature” and “belonging” and “forgiveness.” Yes, it is a book of that magnitude, of that enormity and power. By its Afterword, NISHGA adds up to a work of personal and national reckoning that is by turns heartbreaking and scathing.” —Billy-Ray Belcourt, author of NDN Coping Mechanisms and A History of My Brief Body

"This is a heart-shattering read, and will also be a blanket for others looking for home. NISHGA is a work of absolute courage and vulnerability. I am in complete awe of the sorrow here and the bravery. Mahsi cho, Jordan.” —Richard Van Camp, author of Moccasin Square Gardens

“Jordan Abel digs deeply into the questions we should all be asking. Questions that need no explanation but ones that require us to crawl back into our bones, back into the marrow of our understanding. NISHGA is a ceremony where we need to be silent. Where we need to listen.” —Gregory Scofield, author of Witness, I Am

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288 pages | 7.25" x 8.62"

Alaskan Alison Bremner reclaims her ancestral language in this Tlingit coloring book featuring her original art. Alongside each drawing, each animal is identified by their English and Tlingit names. The English and Tlingit sentences below explain each animal’s cultural significance. Tlingit Animals is intended to teach younger generations Tlingit culture and language, in addition to developing reading skills and creativity.

Educator Information
24 pages colouring and language book Tlingit Indigenous Art

Printed in Canada

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24 Pages

Each page offers traditional and cultural insights into the natural and supernatural worlds. Thought-provoking questions are intended to deepen personal development and our relationships with others. The corresponding animal on the next page allows readers to take the time to further reflect and connect with their creativity as they colour in the animals.

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32 Pages

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192 pages | 7.08" x 9.03" | Colour photos throughout