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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 [...]

The article reviews the exhibition "Elisabeth Louise Vigee Le Brun (1755-1842): The Portraitist to Marie An­toinette" at the National Gallery of Canada in Ottawa, Ontario from June 10 to September 11, 2016, at The Metropolitan Museum of Art in New York City from February 15 to May 15, 2016, and the Grand Palais museum in Paris, France from September 23, 2015 to January 11, 2016.

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]

A review of the painting exhibition of work by the French artist Gustave Doré titled "Master of Imagination" at the National Gallery of Canada, including the paintings "Dante and Virgil in the Ninth Circle of Hell," "Oceanids or Naiads of the Sea" and "Souvenir of Loch Lomond."