Short-listed for the 2012 Speaker’s Award One hundred years ago, the City of Brantford advertised itself as the most important manufacturing centre in Canada. During the century that followed, its industrial economy boomed, faltered, and finally collapsed. By the end of the twentieth century, Brantford was known for unemployment, hard luck, and the infamy of having "the worst downtown in Canada." For twenty years the downtown was in steep decline. Significant attempts at urban revival had failed until Wilfrid Laurier University decided to locate a campus in the heart of Brantford’s crumbling city centre. Leo Groarke revisists the grandeur of the city’s past, explores the economic downfall, and tells the story of the arrival of the university, its early struggles, its commitment to historic restoration, and its ultimate success as a catalyst for urban renewal. The compelling story he recounts will engage anyone interested in the plight of the North-American city core and the role that universities and colleges can play in re-establishing downtowns as vibrant centres of historical and contemporary importance.

This book investigates small cities - cities and towns that are not well known or internationally branded, but are facing structural economic and social issues after the Global Financial Crisis. They need to invent, develop and manage new reasons for their existence. The strengths and opportunities are often underplayed when compared to larger cities. These small cities do not have the profile of New York, London, Tokyo or Cairo, or second-tier cities like San Francisco, Manchester, Osaka or Alexandria. This book traces the current state of the creative industries literature after the GFC, but with a specific focus. The specific – and worsening – conditions in third-tier cities are logged. The social and economic challenges within these regions are great, particularly with regard to health and health services, education, employment, social mobility and physical activity. This is not a study that merely diagnoses problems but raises strategies for third-tier cities to create both a profile and growth. The current research field is synthesized to reveal how cities are defined, constituted, developed and, in many cases, suffering decline. There is an imperative to build relationships with other urban environments. The book enters these under-discussed locations and reveal the scarred layering of injustice, signified by depopulation, dis-investment, economic decline and a reduction in public services for health, transportation and education, while also developing specific and innovative models for improvement. The vista summoned in Unique Urbanity is international, with strong attention to trans-local strategies that offer wide relevance, currency and opportunities for policy makers. While third-tier cities are often hidden, marginalized, invisible or demeaned, Unique Urbanity shows that innovation, imagination and creativity can emerge in small places.

The ways in which Aboriginal people and museums work together have changed drastically in recent decades. This historic process of decolonization, including distinctive attempts to institutionalize multiculturalism, has pushed Canadian museums to pioneer new practices that can accommodate both difference and inclusivity. Ruth Phillips argues that these practices are "indigenous" not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transformative power of museum controversy and analyses shifting ideas about art, authenticity, and power in the modern museum.