In that moment, I felt closer to whiteness than not. I was completely complicit and didn?t think twice about entering a space that could cover their walls with images of contemporary Indigenous perspectives, but exclude their physical bodies from entering and experiencing. In that moment, I felt like a real Canadian. Before I Was a Critic I Was a Human Being is the debut collection of nonfiction essays by Amy Fung. In it, Fung takes a closer examination at Canada's mythologies of multiculturalism, settler colonialism, and identity through the lens of a national art critic. Following the tangents of a foreign-born perspective and the complexities and complicities in participating in ongoing acts of colonial violence, the book as a whole takes the form of a very long land acknowledgement. Taken individually, each essay roots itself in the learning and unlearning process of a first generation settler immigrant as she unfurls each region's sense of place and identity Praise for Before I Was a Critic I Was a Human Being: ?The hours I've spent with this knowing and moving book about place and placelessness are among the most valuable of my reading life. Wow, thank you, Amy." --Eileen Myles "As an Indigenous/Haudenosaunee writer and reader, I recognize that Amy Fung's book does not try to convince us that she is a native rights ally but shows us with language how to mould the term ally into a verb." --Janet Rogers, author of Totem Poles and Railroads "In this compelling work, Amy Fung breathes life and relevance into criticality. This visitor's guide is integral reading." --Cecily Nicholson, author of Wayside Sang, winner of the Governor General's Literary Award for Poetry.

The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.

This monograph takes an interdisciplinary and cross-cultural approach to 20th and 21st -century Canadian Daoist poetry, fiction and criticism in comparative, innovative and engaging ways. Of particular interest are the authors’ refreshing insights into such holistic and topical issues as the globalization of concepts of the Dao, the Yin/Yang, the Heaven-Earth-Humanity triad, the Four Greats, Five Phases, Non-action and so on, as expressed in Canadian literature and criticism – which produces Canadian-constructed Daoist poetics, ethics and aesthetics. Readers will come to understand and appreciate the social and ecological significance of, formal innovations, moral sensitivity, aesthetic principles and ideological complexity in Canadian-Daoist works.

Northrop Frye's Canadian Literary Criticism examines the impact of Frye's criticism on Canadian literary scholarship as well as the response of Frye's peers to his articulation of a 'Canadian' criticism.

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.