Exhibition catalogue for 'Land, Spirit, Power' at the National Gallery of Canada, Ottawa, in 1992, a collection of contemporary art intended as a response and contribution to current discussions on questions of cultural identity, from the specific perspective of First Nations. Includes three essays, and data on each artist.

This provocative and timely text advocates an expanded ethic oriented toward ecosystem sustainability and focuses on the role of nature in maintaining the human spirit. Diverse views are put forth in 38 chapters by 49 authors who represent all types of users and interests. This text presents a balanced, in-depth perspective on this difficult topic of hard-to-define values. The text encourages a sense of awe about the complexity of natural systems as it redefines the words spirit and spirituality by redirecting the reader from the realms of the sectarian, religious, or mystical toward a nature-based meaning. This perspective encompasses the physical, emotional, mental, spiritual, social, and economic well-being of people and communities, emphasizing the sameness of humans and land, and it lays the groundwork for an understanding of, and a need for an expanded land management ethic.

Mapping the contradictions and ambiguities in the cultural politics of Canadian identity, The House of Difference opens up new understandings of the operations of tolerance and Western liberalism in a supposedly post-colonial era. Combining an analysis of the construction of national identity in both past and present-day public culture, with interviews with white Canadians, The House of Difference explores how ideas of racial and cultural difference are articulated in colonial and national projects, and in the subjectivities of people who consider themselves mainstream, or simply Canadian-Canadians.

Saulteaux artist Robert Houle (b.1947) has claimed space and authority for Indigenous representation in contemporary art for more than fifty years. This new publication celebrates his generational influence and coincides with his exhibition Red Is Beautiful, organized by the Art Gallery of Ontario and touring to the Winnipeg Art Gallery and the National Museum of the American Indian at the Smithsonian Institution. A curator, writer, and educator as well as an artist, Houle has made a profound impact. Growing up on the Sandy Bay First Nation/Kaa-wii-kwe-tawang-kak in Manitoba, he was placed in residential school and denied access to his family and traditions. Always fiercely principled, he has dedicated his career to challenging colonialist perspectives. In 1980, he resigned from his position as the first curator of contemporary Indigenous art at the National Museum of Man (now the Canadian Museum of History) and set off on a path toward creating a remarkable body of work that spans painting, drawing, and large-scale installation. Robert Houle: Life & Work reveals how Houle's artistic output has opened critical discussion on political and cultural issues surrounding First Nations peoples, including Indigenous identity, the impact of colonialism, and land claims and residential schools. Houle has played a pivotal role in bringing contemporary Indigenous artists into the Canadian art mainstream through his writing and curating of important exhibitions, such as Land, Spirit, Power: First Nations at the National Gallery of Canada in 1992. This book also explores the artist's public art projects, critical elements of his legacy for art in Canada.

WITH A BRAND NEW LOOK! ON FEBRUARY 22, 1980, KHORSHED AND RUMI BHAVNAGRI’S WORLD WAS SHATTERED. ONE MONTH LATER, A NEW ONE OPENED. Khorshed and Rumi Bhavnagri lost their sons, Vispi and Ratoo, in a tragic car crash. With both their sons gone, the couple felt they would not survive for long. They had lost all faith in God until a miraculous message from the Spirit World gave them hope and sent them on an incredible journey.

In today's world, when Christians think about other religions, numerous questions and issues arise - and their convictions about Christ and about other religions can have a significant influence on their understanding of how God relates to people, and what their own conduct towards them should be. From her wealth of inter-cultural and inter-faith experience, Ida Glaser believes that the most urgent questions for Christians focus on their own responsibilities and other peoples' welfare. Responding to Micah 6:8 - 'And what does the Lord require of you? To act justly and to love mercy and to walk humbly with your God' - Dr Glaser explores biblical perspectives on other faiths and their adherents, with clarity, sensitivity and challenging insights for all Christians.

Despite the common belief that art galleries will naturally become more gender equitable over time, the fact is that many art institutions in Canada have become even less so over the last decade, with female artists making up less than 25 per cent of the contemporary exhibitions of several major galleries. In the first large-scale overview of gender diversity in Canadian art exhibitions, Anne Dymond makes a persuasive plea for more consciously equitable curating. Drawing on data from nearly one hundred institutions, Diversity Counts reveals that while some galleries are relatively equitable, many continue to marginalize female and racialized artists. The book pursues an interdisciplinary approach, considering the art world's resistance to numeric data, discourses on representation and identity, changing conceptualizations of institutional responsibility over time, and different ways particular institutions manage inclusion and exclusion. A thoughtful examination of the duty of public galleries to represent underserved communities, Dymond's study bravely navigates the unspoken criteria for acceptance in the curatorial world. Demonstrating how important hard data is for inclusivity, Diversity Counts is a timely analysis that brings the art world up to date on progressive movements for social transformation.