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Globalization has introduced insecurities to individuals and businesses. Countries are pressed to respond to these insecurities with more inclusive visions of globalization. One policy response is social procurement--public purchasing geared to create social value. Canada is embracing this response but faces barriers of its own making. Through the institutional bricolage of procurement trade rules, Canada has constrained its capacity to use social procurement. This is acutely felt by Crown corporations, which are increasingly under the scope of trade treaties. This article details this phenomenon through textual analysis of Canadian procurement trade rules and state enterprise attempts at social procurement. La mondialisation a cree des inquietudes chez les individus et les entreprises. Les pays sont pousses a repondre a ces incertitudes avec des visions plus inclusives de la mondialisation. L'une des reponses politiques est l'approvisionnement social--c'est-a-dire des achats publics visant a creer de la valeur sociale. Le Canada adhere a cette solution, mais se heurte a des obstacles qu'il a lui-meme crees. En faisant du bricolage institutionnel avec les regles commerciales en matiere d'approvisionnement, le Canada a limite sa capacite a recourir a l'approvisionnement social. Cet etat de fait est vivement ressenti par les societes d'Etat, qui tombent de plus en plus sous le champ d'application des traites commerciaux. Cet article detaille ce phenomene en effectuant une analyse textuelle des regles commerciales d'approvisionnement canadiennes et en analysant les tentatives des entreprises publiques en matiere d'approvisionnement social., INTRODUCTION Since the 1980s, countries around the world have increasingly committed to an agenda of economic liberalization. This agenda has both created great wealth and introduced new insecurities to individuals [...]

This essay argues that Canada's nationalist art narrative is a cultural resource in the present, subject to shifts in emphasis and inflection and to revision, and that its mobilization in international exhibitions makes the National Gallery of Canada a key partner of Global Affairs Canada in advancing Canada's international relations and foreign policy initiatives. The Gallery's millennial exhibition, Terre Sauvage: Canadian Landscape Painting and the Group of Seven (1999-2001), provides a case study of this relationship. In an exploration of the show, which travelled to Scandinavia, Mexico, and China, this essay argues that, in pursuit of its professional interests, the National Gallery is always already working in concert with the foreign policy sphere in advancing the interests of the Canadian state and its public diplomacy. The exhibition represented the Group of Seven's work as a material expression of the national norms and values perceived in Canada's international orientation. For northern Europe, it represented a shared northern hemispheric identity, linking Canada on one front to the Nordic face of the European Union while opening on another to a circumpolar geopolitical imaginary; for Mexico, a common North American identity that opened more broadly to the Americas as a geopolitical space. For China, it conjured shared cosmopolitan values informing the two countries' global orientation. [ABSTRACT FROM AUTHOR]

Through their collection and exhibition practices, art museums around the world are active agents in the processes of national memory-making that silence and racialize certain individual and group identities As museums reopen in the wake of Covid19 closures and amid the global protests for social justice and racial equality, there is renewed urgency for institutions to do more than stage dominant narratives of nationhood, identity, and citizenship under the guise of detached commemorative hosts. Using visual art from the National Gallery of Canada's permanent collection as a case study, this article applies an analytic framework to situate and explore dominant and conflicting constructions of national identity, communicated in a national museum. In doing so, it suggests that national narrative frameworks have much to offer critical approaches in the art museum that support renewed calls from scholars and activists, to upend hierarchies, multiply voices, and become bold new spaces for social advocacy and decolonization. [ABSTRACT FROM AUTHOR]

Louis‐Jacques‐Mandé Daguerre introduced the first successful photographic process, the daguerreotype, in 1839. Tarnished regions on daguerreotypes supplied by the National Gallery of Canada were examined using scanning electron microscopy energy‐dispersive X‐ray spectroscopy and synchrotron‐radiation analysis. Synchrotron X‐ray fluorescence imaging visualized the distribution of sulfur and chlorine, two primary tarnish contributors, and showed that they were associated with the distribution of image particles on the surface. X‐ray absorption near‐edge structure spectroscopy determined the tarnish to be primarily composed of AgCl and Ag2S. Au2S, Au2SO4, HAuCl4 and HgSO4 were also observed to be minor contributors. Environmental contamination may be a source of these degradation compounds. Implications of these findings will be discussed. [ABSTRACT FROM AUTHOR]

The Jack Bush exhibition celebrates this great Canadian painter and provides a complete rereading of his unique story. Bush is a really satisfying artist; you don't come away saddened or [...]

Art education became interwoven with cultural mediation when a university-level English language certification class was taken on a field trip to the National Gallery of Canada. This article focuses on one ESL student who locates her subversive identity as she engages with and interprets an artwork in an interview. This student's memorable, affective, and intimately personal thoughts and feelings, as we shall see, expose the semiotic and pedagogical importance of employing strategies that honour students' identities and lived experiences. The authors call for more research in what they refer to as 'critical ESL art museum education'. [ABSTRACT FROM AUTHOR]

The practice of visual art is often regarded as an individual and autonomous form of labour. While the making of the art work might occur in isolation, its public exhibition will often bring artists together in negotiation with an art institution. This article analyses two such occasions: artists whose work is exhibited in the National Gallery of Canada, and those who were selected for inclusion in the 2014 Sydney Biennale. We argue that these case studies demonstrate the way in which visual artists, at a certain point in the value chain, acquire greater power to negotiate, frequently by invoking intellectual property and ancillary rights in their artwork. [ABSTRACT FROM AUTHOR]

In response to the unique sensory modes of blind and partially sighted communities, tactile and multisensory tours and exhibition components of museum collections are gradually becoming more common in North America and Europe. Such initiatives are often intended to give equal forms of access for diverse participating publics. This article provides an auto-ethnographic report on the tactile tours offered by The National Gallery of Canada (Ottawa) program "Stimulating the Senses," and gives context for sensorial models at play in Western museums today. Museum strategies that encourage intersensorial awareness and access are also discussed. Attention is given to the performative properties of these tours, and the variety of encounter they encourage between publics. This article also includes accounts of the program by its supervisor and coordinator, as well as from a participant. Key questions this article explores are: do such tours in fact give equal access; what motivates the development of such programs in Canadian institutions; and what outcomes are realized through these programs? [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Sakahàn: International Indigenous Art" at National Gallery of Canada from May 17 to September 2, 2013.

Corrosion noted on a number of nineteenth and twentieth century indoor bronze sculptures in the collection of the National Gallery of Canada was the cause for a major condition survey of its Canadian, American, and European bronzes. The results led to a comprehensive study, which included material analysis. This article outlines the steps undertaken to determine the extent and type of corrosion, its possible cause(s), and potential remediation. The survey included 136 bronzes, of which 40 were selected for an in-depth study. Indoor air quality tests of the current building, housing the collection since 1988, were carried out. The dossiers and database records of the selected sculptures were reviewed to investigate their condition, treatment, and storage history. The metal, patina, and corrosion products were subjected to analysis. More areas of corrosion were generally associated with predominantly green patinas and chloride-containing compounds identified in either patina or corrosion samples. The most frequently identified compounds in the patina samples were atacamite, a copper(II) chloride hydroxide, and cuprite, a copper(I) oxide. The most frequently identified compounds in the corrosion samples were atacamite and rouaite, a copper(II) hydroxide nitrate. The analysis determined that the current environment is not contributing to the surface alterations of the sculptures; however, past storage conditions, chemical residues from artificial patination, and likely casting residues are the main causes of the current condition. [ABSTRACT FROM AUTHOR]

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"They still can act Chinese and be Canadian at the same time." Such was a grade six student's reply to, "What have you learned about Chinese culture in Calgary that you did not know before visiting the [Calgary Chinese Cultural] Centre." This paper explores multicultural policy in Canada as it relates to Canadian cultural institutions like the National Gallery of Canada and, more locally, as it relates to art education in Alberta. It examines the Alberta elementary art curriculum, paying particular attention to ways that mainstream Canadian aesthetic values are foregrounded therein. It reveals openings in the present curriculum for inclusion of the aesthetic values of all Canadians. It proposes Tully's notion of "dialogic multiculturalism" as an alternative understanding that might allow for more inclusivity within Canadian definitions of Art and our practices in art education. [ABSTRACT FROM AUTHOR]

The article offers information on Charles Ricketts who advises on purchases for the National Gallery of Canada. It explores Ricketts' experiences in seeking arts for advisorship on the gallery of Canada and discusses the paintings he advised for the gallery. It shows that Ricketts concentrated on Italian master for the Canadian collection and suggests that he was right in acquiring early works for the gallery because they represent a brief phase in history that could not be compared.

National Gallery of Canada, Ottawa, June 26 - September 27 While it affords diverse modes of engagement, what is most compelling about Char Davies' interactive installation, Ephemere, is its implications [...]

The article discusses the National Gallery of Canada wherein curators and artists are in influential positions. Topics discussed include artist Geoffrey Farmer's "Blades Of Grass" exhibition which featured exceptional people-skills, the truth that making art cannot be understood is a post modern strategy, and art's complex differentiations being crucial for mental health.

The article reviews the exhibition "Gustave Doré (1832-1883): Master of Imagination" held at the Musée d’Orsay in Paris, France from February 18, 2014 to May 11, 2014, as well as at the National Gallery of Canada, Ottawa, Ontario from June 13, 2014 to September 14, 2014. Its accompanying catalog "Doré: Master of Imagination," edited by Philippe Kaenel, is reviewed as well.