Unveiling the unconventional : Kehinde Wiley's portrait of Barack Obama / Taína Caragol -- "Radical empathy" : Amy Sherald's portrait of Michelle Obama / Dorothy Moss -- The Obama portraits, in art history and beyond / Richard J. Powell -- The Obama portraits and the National Portrait Gallery as a site of secular pilgrimage / Kim Sajet -- The presentation of the Obama portraits : a transcript of the unveiling ceremony.

This richly illustrated book features an introduction by the National Portrait Gallery's chief curator and nearly 150 insightful entries on key self-portraits in the museum's collection. "Eye to I" provides readers with an overview of self-portraiture while revealing the intersections that exist between art, life, and self-representation. Drawing primarily from the museum's collection, "Eye to I" explores how American artists have portrayed themselves since 1900. The book shows that while each individual's approach to self-portraiture arises under unique circumstances, all of their representations raise important questions about self-perception and self-reflection. Sometimes artists choose to reveal intimate details of their inner lives. Other times they use the genre to obfuscate their true selves or invent alter egos. Today, with the proliferation of selfies and the contemporary focus on identity, it is time to reassess the significance of the self-portrait. Exhibition: National Portrait Gallery, Washington D.C., USA (02.11.2018-18.28.2019).

- Approximately 125 masterworks by some 35 artists situate Canadian art within the global phenomenon of Impressionism- A detailed chronology explores the multifaceted ways in which Canadians contributed to the evolution of ImpressionismFollow these Canadian artists as they travel abroad and return home again, over a series of journeys taking place during the last decades of the nineteenth century to the turn of the twentieth. Approximately 125 masterworks by some 35 artists situate Canadian art within the global phenomenon of Impressionism and present a fresh perspective on its reception in the arts of Canada. Adopting a thematic approach, comprehensive essays demonstrate the commitment of these pioneering artists to an innovative interpretation of foreign and familiar surroundings, imbued with an Impressionist vocabulary. A detailed chronology explores the multifaceted ways in which Canadians contributed to the evolution of Impressionism and to the advent of modernity in their homeland. This book accompanies exhibitions at the Kunsthalle der Hypo-Kulturstiftung, Munich (DE), July - November 2019; Fondation de l Hermitage, Lausanne (CH), January - May 2020; Musée Fabre, Montpellier (FR), June - September 2020; and the National Gallery of Canada, Ottawa (CA), November 2020 - April 2021.

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.

A Canadian architectural and cultural marvel, Canada's Parliament Building, or Centre Block, has been the focal point of Canadian parliamentary democracy for much of the past century. As the Parliament Building, with its iconic gothic revival Peace Tower, approaches its 100th anniversary, it will be closed for a decade or more for much-needed renovations. Although an entire generation will miss the opportunity to see this building's wonders, A Portrait of Canada's Parliament provides a permanent written and illustrated record of it at this watershed moment. With spectacular photographs by William McElligott and inspiring thematic articles by established professional subject specialists, this volume collectively paints a portrait of one of Canada's greatest symbols from its origins into the present and on to the plans for its future. The Parliament Building, which contains both the Senate and the House of Commons, is unveiled from various angles: the astonishing history, the visionary architects, the lofty aspirations, the democratic functions housed within, the urban features, the picturesque landscape, the powerful architecture, the engineering ingenuity, the decorations' symbolic meanings, the harsher memories, the evolution echoing a growing nation, and the challenges, opportunities, and technological innovations for the most ambitious architectural renovation in Canada's history - a revitalized Parliament Building fit for the twenty-first century and beyond. This portrait provides, for the first time, an intimate analysis of the character and spirit of Canada's Parliament, and how the building's design, contents, and setting have performed their role so successfully for successive generations of Canadians.