Few twentieth-century artists were catalysts for the reclamation of a culture, but Iljuwas Bill Reid (1920-1998) was among them. The first book on the artist by an Indigenous scholar details Reid's incredible journey to becoming one of the most significant Northwest Coast artists of our time. Born in British Columbia and denied his mother's Haida heritage in his youth, Iljuwas Bill Reid lived the reality of colonialism yet tenaciously forged a creative practice that celebrated Haida ways of seeing and making. Over his fifty-year career, he created nearly a thousand original works and dozens of texts, and he is remembered as a passionate artist, community activist, mentor, and writer. Reid was often said to embody the Raven, a trickster who transforms the world. He followed in the footsteps of his great-great-uncle, master Haida artist Daxhiigang (Charles Edenshaw), engaging with a culture whose practices were once banned by the Indian Act and producing symbols for a nation. His iconic large-scale works now occupy sites such as the Canadian Embassy in Washington, D.C., and the Museum of Anthropology at the University of British Columbia in Vancouver. Reid's legacy is a complex story of power, resilience, and strength. In Iljuwas Bill Reid: Life & Work, acclaimed scholar Gerald McMaster examines how the artist made a critical inquiry into his craft throughout his life, gaining a sense of identity, purpose, and impact.

"The life and work of Canadian artist Bill Reid"--

Over his lifetime, Bill Reid created many historic pieces of art including the large bronze sculpture The Spirit of Haida Gwaii, nicknamed the Jade Canoe and displayed at the Vancouver International Airport, and The Raven and the First Men, a yellow cedar carving. Both are featured on the Canadian $20 bill. In addition to the immense praise for his artwork, Reid received the National Aboriginal Achievement Award for Lifetime Achievement in 1994. He continued to create stunning sculptures up until his death in 1998. Bill Reid Collected features the largest chronological collection of memorable works of Reid’s career in full-color photographs and images to date. Along with an introductory essay by Dr. Martine J. Reid, this collection pays tribute to one of Canada’s most renowned First Nations artists.

"A thoughtful, elegantly written, and easy-to-read guide to over three hundred years of architectural style in Canada." - Kelly Crossman, Carleton University

The most exciting contemporary visual arts event in the Asia-Pacific region, the 18th Biennale of Sydney, will take place from 27 June - 16 September 2012. This full-colour catalogue provides a comprehensive overview of the exhibition, its artists and the ideas that inform it.

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.