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In a disturbing year internationally, Canadian artists and art galleries seemed to rise above the fray with an engaging slate of programming that points to a dynamic post-pandemic recovery. Work by female artists and the importance of textiles as a medium were two recurring themes.
In his four-volume life’s work, scholar Ian S. MacLaren teases information from misinformation in the drawings, paintings and notebooks of Paul Kane, the 19th-century Canadian artist whose images of Indigenous people are rife with romanticism and error.was a sympathetic government trap line manager and amateur colour photographer who recorded life in Anishinaabe, Cree and Anisininew communities in the Hudson Bay watershed in the 1950s and 1960s.
Best beadwork: Kapwani Kiwanga at the Venice Biennale, Venice, Italy, and Nico Williams at the National Gallery of Canada, Ottawacovered the Canada Pavilion at the Venice Biennale in beaded curtains in a piece about European-African trade inspired by the Venetian bead industry. The focus turned to Canada’s role in, a show of innovative beading by contemporary Indigenous artists at the National Gallery of Canada.
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