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Canadian art refers to the visual (including painting, photography, and printmaking) as well as plastic arts (such as sculpture) originating from the geographical area of contemporary Canada. Art in Canada is marked by thousands of years of habitation by First Nations Peoples followed by waves of immigration which included artists of European origins and subsequently by artists with heritage from countries all around the world. The nature of Canadian art reflects these diverse origins, as artists have taken their traditions and adapted these influences to reflect the reality of their lives in Canada.

The Government of Canada has at times played a central role in the development of Canadian culture. The arts have flourished in Canada since the 20th century, and especially since the end of World War II in 1945. Government support has played a vital role in their development enabling visual exposure through publications and periodicals featuring Canadian art, as has the establishment of numerous art schools and colleges across the country. The Group of Seven is often considered the first uniquely Canadian artistic group and style of painting. However, this claim is challenged by some scholars and artists. Historically the Catholic Church was the primary patron of art in early Canada, especially Quebec, and in later times artists have combined British, French and American artistic traditions, at times embracing European styles and at other times working to promote nationalism by developing distinctly Canadian styles. Canadian art remains the combination of these various influences.

Aboriginal art[link]

Haida totem pole, Thunderbird Park, British Columbia

Aboriginal peoples were producing art in the territory that is now called Canada for thousands of years prior to the arrival of European settler colonists and the eventual establishment of Canada as a nation state. Like the peoples that produced them, indigenous art traditions spanned territories that extended across the current national boundaries between Canada and the United States. Indigenous art traditions are often organized by art historians according to cultural, linguistic or regional groups, the most common regional distinctions being: Northwest Coast, Plateau, Plains, Eastern Woodlands, Sub-Arctic, and Arctic. As might be expected, art traditions vary enormously amongst and within these diverse groups. One thing that distinguishes Indigenous art from European traditions is a focus on art that tends to be portable and made for the body rather than for architecture, although even this is only a general tendency and not an absolute rule. Indigenous visual art is also often made to be used in conjunction with other arts, for example masks and rattles play an important role in ceremonialism that also involves dance, storytelling and music.

Many of the artworks preserved in museum collections date from the period after European contact and show evidence of the creative adoption and adaptation of European trade goods such as metal and glass beads. The distinct Métis cultures that have arisen from inter cultural relationships with Europeans have also contributed new culturally hybrid art forms. During the 19th and the first half of the 20th century the Canadian government pursued an active policy of assimilation toward indigenous peoples and one of the instruments of this policy was the Indian Act, which banned manifestations of traditional religion and governance, such as the Sun Dance and the Potlatch, including the works of art associated with them. It was not until the 1950s and 60s that indigenous artists such as Mungo Martin, Bill Reid and Norval Morrisseau began to publicly renew and in some cases re-invent indigenous art traditions. Currently there are many indigenous artists practicing in all media in Canada and two indigenous artists, such as Edward Poitras and Rebecca Belmore, who have represented Canada at the prestigious Venice Biennale in 1995 and 2005, respectively.

French Colonial Period (1665–1759)[link]

Map of New France made by Samuel de Champlain in 1612.

Early explorers such as Samuel de Champlain made sketches of North American territory as they explored, but the Roman Catholic Church in and around Quebec City was the first to provide artistic patronage.^[1] Abbé Hughes Pommier is believed to be the first painter in New France. Pommier left France in 1664 and worked in various communities as a priest before taking up painting extensively. Painters in New France, such as Pommier and Claude Francois, known primarily as Frère Luc, believed in the ideals of High Renaissance art, which featured religious depictions often formally composed with seemingly classical clothing and settings.^[2] Few artists during this early period signed their works, making attributions today difficult.

Near the end of the 17th century, the population of New France was growing steadily but the territory was increasingly isolated from France. Fewer artists arrived from Europe, but artists in New France continued with commissions from the Church. Two schools were established in New France to teach the arts and there were a number of artists working throughout New France until the British Conquest.^[3] Pierre Le Ber, from a wealthy Montreal family, is one of the most recognized artists from this period. Believed to be self-taught since he never left New France, Le Ber's painting is widely admired. In particular, his depiction of the saint Marguerite Bourgeoys was hailed as "the single most moving image to survive from the French period" by Canadian art historian Dennis Reid.^[4]

While the early religious painting told little about everyday life, numerous ex-votos completed by amateur artists offer vivid impressions of life in New France. Ex-votos, or votive painting, were made as a way to thank God or the saints for answering a prayer. One of the best known examples of this type of work is Ex-voto des trois naufragés de Lévis (1754). Five youths were crossing the Saint-Lawrence at night when their boat overturned in rough water. Two girls drowned, weighed down by their heavy dresses, while two young men and one woman were able to hold on to the overturned boat until help arrived. Saint Anne is depicted in the sky, saving them. This work was donated to the church at Sainte-Anne-de-Beaupré as an offering of thanks for the three lives saved.^[5]

Early art in British North America[link]

The early ports of Nova Scotia and Newfoundland did not experience the same degree of artistic growth, largely due to their Protestant beliefs in simple church decoration which did not encourage artists or sculptors. However, itinerant artists, painters who travelled to various communities to sell works, frequented the area. Dutch-born artist Gerard Edema is believed to have painted the first Newfoundland landscape in the early 18th century.^[6]

English Colonial Period (1759–1867)[link]

Robert Hood's The Hudson's Bay Company Ships Prince of Wales and Eddystone Bartering with the Inuit off the Upper Savage Islands, 1819

British Army topographers[link]

The battle for Quebec left numerous British soldiers garrisoned in strategic locations in the territory. While off-duty, many of these soldiers sketched and painted the Canadian land and people, which were often sold in European markets hungry for exotic, picturesque views of the colonies. Furthermore, drawing was also required by soldiers to record the land, as photography had not been invented.^[7] Thomas Davies is championed as one of the most talented. Davies recorded the capture of Louisburg and Montreal among other scenes.^[8] Scottish-born George Heriot was one of the first artist-soldiers to settle in Canada and later produced Travels Through the Canadas in 1807 filled with his aquatint prints.^[9] Forshaw Day worked as a draftsman at Her Majesty's Naval Yard from 1862–79 in Halifax, Nova Scotia then moved to Kingston, Ontario to teach drawing at the Royal Military College of Canada from 1879–97.

Lower Canada's Golden Age[link]

In the late 18th century, art in Lower Canada began to prosper due a larger number of commissions from the public and Church construction which allowed a greater number of professional artists working and . Portrait painting in particular is recognized from this period as it allowed a higher degree of innovation and change. François Baillairgé was one of the first of this generation of artists. He returned to Montreal after in 1781 studying sculpture in London and Paris. The Rococo style influenced several Lower Canadian artists who aimed for the style's light and carefree painting. However, Baillairgé did not embrace Rococo, instead focusing on sculpture and teaching influenced from Neo-Classicism.^[10]

Lower Canada's artists evolved independently from France as the connection was broken off during the French Revolution and the Napoleonic Wars. While not living in Lower Canada, William Berczy participated in the period's artistic growth. He immigrated to Canada from Saxony and completed several important portraits of leading figures. For example, he painted three portraits of Joseph Brant and his best known work is The Woolsley Family, painted in Quebec City in 1808–09. As the title suggests the work features full-length portraits of all the members of the Woolsley family. It is celebrated in part because of its complex arrangement of figures, decorative floor panels, and the detailed view of the landscape through the open window.^[11] Art historian J. Russell Harper believes this era of Canadian art was the first to develop a truly Canadian character.^[12]

A second generation of artists continued this flourishing of artistic growth beginning around the 1820s. Joseph Légaré was trained as a decorative and copy painter. However, this did not inhibit his artistic creativity as he was one of the first Canadian artists to depict the local landscape. Légaré is best known for his depictions of disasters such as cholera plagues, rocks slides, and fires.^[13] A student of Légaré, Antoine Plamondon went on to study in France, the first French Canadian artist to do so in 48 years. Plamondon went on to become the most successful artist in this period largely through religious and portrait commissions.^[14]

Krieghoff and Kane[link]

The works of most early Canadian painters followed European trends. During the mid 19th century, Cornelius Krieghoff, a Dutch born artist in Quebec, painted scenes of the life of the habitants (French-Canadian farmers). At about the same time, the Canadian artist Paul Kane painted pictures of Indigenous life around the Great Lakes and in Western Canada and the Oregon Territories.

Art under the Dominion of Canada[link]

Formed in 1870 by a group of artists including John Bell-Smith, father of Frederic Marlett Bell-Smith and Adolphe Vogt, the Canadian Society of Artists was the first organization that reflected the new political boundaries and arguably a national identity. The group consisted of artists with diverse background, with many new Canadians and others of French heritage spread out over Ontario and Quebec. Without group philosophical or artistic objectives, most artists tended simply to please the public in order to produce income. Romanticism remained the predominant stylistic influence, with a growing appreciation for Realism originating from the Barbizon school practiced by Canadians Homer Watson and Horatio Walker.^[15]

Early 20th century[link]

Nationalism and the Group of Seven[link]

A group of landscape painters called the Group of Seven aimed to develop the first distinctly Canadian style of painting. All these artists painted large, brilliantly coloured scenes of the Canadian wilderness. The original members of the group were Franklin Carmichael, Lawren Harris, A. Y. Jackson, Frank Johnston, Arthur Lismer, J. E. H. MacDonald, and Frederick Varley. Tom Thomson (who died in 1917) and Emily Carr were also closely associated with the Group of Seven, though neither were ever official members. In the 1930s, members of the Group of Seven decided to enlarge the club and formed the Canadian Group of Painters, made up of 28 artists from across the country.

Beginning of non-objective art[link]

In the 1920s, Kathleen Munn and Bertram Brooker independently experimented with abstract or non-objective art in Canada. Both artists viewed abstract art as a way to explore symbolism and mysticism as an integrated part of their personal spirituality. As the Group of Seven was enlarged into the Canadian group of Painters in the 1930s, Lawren Harris left the group's focus on depicting the Canadian landscape and experimented with abstract forms and aimed to represent broad conceptual themes. These individual artists indirectly influenced the following generation of artists who would come to form groups of abstract art following World War II, by changing the definition of art in Canadian society and by encouraging young artists to explore abstract themes.^[16]

Contemporaries of the Group of Seven[link]

Founded in 1938 in Montréal, Québec, the Eastern Group of Painters included Montréal artists whose common interest was painting and an art for art's sake aesthetic, not the espousal of a nationalist theory as was the case with the Group of Seven or the Canadian Group of Painters. The group’s members included Alexander Bercovitch, Goodridge Roberts, Eric Goldberg, Jack Weldon Humphrey, John Goodwin Lyman, and Jori Smith.

By the late 1930s, many Canadian artists began resenting the quasi-national institution the Group of Seven had become. As a result of a growing rejection of the view that the efforts of a group of artists based largely in Ontario constituted a national vision or oeuvre, many artists—notably those in Québec—began feeling ignored and undermined. The Eastern Group of Painters formed to counter this notion and restore variation of purpose, method, and geography to Canadian art.

1930s regionalism[link]

Since the 1930s, Canadian painters have developed a wide range of highly individual styles. Emily Carr became famous for her paintings of totem poles, native villages, and the forests of British Columbia. Other noted painters have included the landscape artist David Milne and the prairie painter William Kurelek.

After World War II[link]

Government support has played a vital role in arts development, as has the establishment of numerous art schools and colleges across the country.

The abstract painters Jean-Paul Riopelle and Harold Town and multi-media artist Michael Snow. The abstract art group Painters Eleven, particularly the artists William Ronald and Jack Bush, also had an important impact on modern art in Canada.

Canadian sculpture has been enriched by the walrus ivory and soapstone carvings by the Inuit artists. These carvings show objects and activities from their daily lives, both modern and traditional, as well as scenes from their mythology.

Contemporary art[link]

Interior of the Toronto Eaton Centre showing one of Michael Snow's best known sculptures, titled Flightstop, which depicts Canada Geese in flight.

Visual art made in Canada by living Canadian artists refers to a range of visual, media, performance, and other practices that are critically acclaimed. There has been much debate over whether a national style, philosophical outlook, or unified and cohesive culture exists or ever has existed within Canada.^[17] It is large geographically, with many distinct regions, and its population is diverse and is made up of varying national and ethnic backgrounds. Also, as traditional distinctions between "high art" and "low" and "popular" art seem to be becoming less clear, the task of locating one or even a few common characteristics of Canadian art or culture becomes difficult.

There are, however, a few notable moments when Canadian contemporary artists—as individuals or groups—have distinguished themselves through commonality, international recognition, collaboration, or zeitgeist:

• The interdisciplinary artistic practice and international success of Michael Snow beginning in the 1960s
• Nova Scotia College of Art and Design University (NSCAD University). In 1967 the artist Garry Kennedy was appointed President, remaking the College into an international centre for artistic activity and inviting notable artists to come to NSCAD as visiting artists, particularly those involved in conceptual art. Artists who made significant contributions during this period include Vito Acconci, Sol LeWitt, Dan Graham, Eric Fischl, Lawrence Weiner, Joseph Beuys and Claes Oldenburg
• The Vancouver School of Photoconceptualism (including Jeff Wall, Rodney Graham and Stan Douglas)
• The international success of AA Bronson, Felix Partz and Jorge Zontal under the name of General Idea.
• The success of the career of Janet Cardiff and George Bures Miller, who represented Canada at the 49th Venice Biennial in 2001

See also[link]

• National Gallery of Canada

• Beaver Hall Group
• Canadian Group of Painters
• Eastern Group of Painters
• General Idea
• Group of Seven
• Indian Group of Seven
• Les Automatistes
• Les Plasticiens
• Painters Eleven
• Regina Five
• Woodlands School
• Vancouver School

References[link]

Further reading[link]

External links[link]

• Media related to Art of Canada at Wikimedia Commons

• Artists in Canada A CHIN (Canadian Heritage Information Network) Resource

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Leona Brown (born July 27, 1960) is a female boxer who is the WIBC world Bantamweight champion. Because of her age, many consider her to be "the George Foreman of women's boxing". Brown's nickname, "Downtown", is both a homage to actress Downtown Julie Brown, and it also serves as name play, such as in the case of "Hannah The Vegas Fox".

A native of Buffalo, New York, she now lives in Wappingers Falls, also a New York state city.

Brown was an award winning amateur boxer, winning the New York state golden gloves award before turning professional, on September 27. 1997, beating Judy Mayrand by a four round unanimous decision in Germantown, Pennsylvania. Brown proceeded to win her first seven fights as a professional, including victories over Sue Chase, Sonya Emery and Suzanne Riccio.

On her eighth professional bout, fought June 11, 1999 in Bossier City, Louisiana, she fought for a world title for the first time, losing a ten round decision to IFBA world Bantamweight champion Eva Jones. Her next bout was a six round unanimous decision loss at the hands of the noted Margaret Sidoroff.

On October 1, 1999, Brown became a world champion for the first time, when she knocked out Dee Dufoe in round ten to become the IFBA's world Super Bantamweight champion.

That short success was followed by defeat and disappointment, however, as she lost seven of her next eight bouts, beginning with a world title unification against WIBF world Super Bantamweight champion Michele Aboro on May 13, 2000. Brown lost a ten round split decision, and her IFBA world title, to Aboro in Germany. Other boxers that defeated her during this period included Alicia Ashley, Kathy Williams and Lisa Brown (twice). Her only win during those eight bouts came against Ria Ramnarine, by a knockout in round four, on July 27 of 2001.

After defeating Renee Richardt, she was given another chance at the WIBF world Super Bantamweight title, flying over to Austria, where she lost to Esther Schouten by a ten round decision, on June 9, 2002. That loss marked the beginning of another losing streak for Brown, as she lost her next three bouts as well. These included a defeat at the hands of Ada Vélez. She broke that streak with a fourth round knockout of Terri Cruz on April 23, 2004, in Denver, Colorado.

After another loss and a win, she was given another chance at becoming world champion again, and, on November 20, Brown took on Stephaney George of Guyana for the WIBC world Bantamweight title, in Poughkeepsie, New York. Brown won a world title on a second division when she beat George by a unanimous decision, on a fight that the judges saw as a one-sided affair (all three judges scored the fight 100-90 in favor of Brown).

Leona Brown holds a professional boxing record of 13 wins and 14 losses, with 5 knockout wins.

External links[link]

• Professional boxing record for Leona Brown from BoxRec
• Leona Brown's Official Web Site

Justin Nozuka
Nozuka performing in Nice, France, 12 November 2010
Background information
Birth name	Justin Tokimitsu Nozuka
Born	(1988-09-29) 29 September 1988 (age 23) New York City, New York United States
Genres	Folk, Acoustic Rock, Soul
Occupations	Musician
Years active	2006–present
Labels	Glassnote Records, Coalition Entertainment
Website	http://www.justinnozuka.com, http://www.justinnozuka.co.uk

Justin Tokimitsu Nozuka (born September 29, 1988) is a American-Canadian singer-songwriter. His debut album Holly has been released in Europe, Canada, Japan and the United States. He has licensed the album to indie label Coalition Entertainment Records, distributed by Warner Music in Canada, Outcaste Records in the UK/EU distributed by EMI and Glassnote Records in the US distributed by RED.

Biography[link]

Nozuka was born to a Japanese father and an American mother of English ancestry. His mother's half-sister is actress Kyra Sedgwick^[1][2] and his first cousin twice removed is Edie Sedgwick. Justin's mother raised him and his six siblings as a single mother.^[3] Nozuka is the brother of R&B singer George, actor Philip, and singer/songwriter Henry. Other family members include Christian and two sisters, Margaret and Sandra (Sandy).

Nozuka began writing his own songs at age 12. The earliest of his songs on Holly, "Supposed to Grow Old" and "I'm in Peace," were written when he was 15.^[4] While attending St. Andrews College, an international boarding school in Aurora, Ontario, Justin learned to play guitar from classmates.^{[citation needed]} He then went on to the Etobicoke School of the Arts, where he graduated from in 2007. His musical influences stem from artists such as Lauryn Hill and Marvin Gaye.^[5]

With help from a fellow Canadian artist, Damhnait Doyle, whom he met at a song writing workshop, Justin was introduced to Universal Records talent scout, Allan Reid. He recorded three tracks through Universal with Bill Bell as producer, leading Universal to request that Justin sign with their label. However, he decided he wanted to "record an album on (his) own, with (his) own freedom".^[6]

Justin Nozuka in concert 07 November 2009 in Annapolis, Maryland (U.S.)

In 2007, Nozuka released his debut album Holly. The album is named after his mother who helped and supported his chosen career in music. The album has eleven songs to it and includes a hidden track following the final listed song "If I Gave You My Life". Many of Justin's songs deal with mature themes such as the song "Save Him", which is a fictional account of a woman abused by her husband. Another track, "Down in a Cold Dirty Well", is about his perspective being stuck in a well, watching his life flash before his eyes."Criminal"describes the story of a drunken man facing the consequences of throwing a bottle into a street "where children play with bare feet",^[7] and suffers from the overwhelming guilt. In February 2008, Justin was nominated for a Juno award in the category of "New Artist of the Year", following the commercial and critical success of his debut album.

Since then, Justin has played at such venues as the Green room stage at the Irish music festival Oxegen and T in the Park in 2007. Nozuka's song "After Tonight" has also been featured in a commercial for "Scott Baio Is 46...and Pregnant" on VH1, as well as on mtvU's The Freshman. Nozuka has also traveled to Austin, Texas to take part in the SXSW Music Festival as well as being interviewed by many radio stations in the area.

In 2008, Justin Nozuka toured with Marié Digby and Eric Hutchinson. From Aug 2008 through Nov 2008, Justin toured all around the United States with Gabe Dixon Band & Jay Nash as well as in parts of Europe. In the beginning of 2009, Justin toured the United States again, this time co-headlining with Missy Higgins and with special guest, Lenka. He also toured in France to heavily promote the Holly album for its re-release.

In the summer of 2009, Justin began working on his second studio album, while touring and playing live shows in Europe. The result was his second album titled "You I Wind Land and Sea". The album was released in the US on April 13, 2010 and debuted at # 118 on the Billboard 200 Albums Chart. The album receive positive reviews, similar to his first album.

On February 18, 2010, Nozuka lent his vocals alongside 50 of Canada's best and brightest artists on a reworked version of K'naan's "Wavin' Flag." The song was reworked in order to inspire help for Haiti after it was hit by a 7.0 magnitude earthquake. Other singers involved included K'naan, Nelly Furtado, Kardinal Offishall, Avril Lavigne, Lights, Drake, Fefe Dobson, Esthero, Jacob Hoggard and Justin Bieber, among others. It was released on iTunes Friday March 12, 2010 for purchase with all proceeds going to designated charities: World Vision, Free The Children and War Child.

Justin collaborated with the musical group The Slakadeliqs on their single "Love Controls the Sun" in November 2011. The song is part of the group's album The Other Side of Tomorrow set to be released in January 2012. The group released a music video for the song featuring Justin and Slakah The Beatchild riding their bicycles on a rural road and partying.^[8]

Justin has performed the song "Gone" in his live shows but has yet to record it for an album. Wu-Tang Clan member RZA came across the song and decided to sample it. RZA, joined by Kobra Khan, James Black and Justin, released the song, also titled "Gone," in October 2011 as a tribute to former Wu-Tang Clan member the late Ol' Dirty Bastard. The group filmed a music video for the single featuring clips of Ol' Dirty Bastard. The single is available on iTunes.^[9]

Justin has also had various acting roles, including an appearance on Degrassi: The Next Generation as Chuck Hosoda, the fictional brother to recurring character Chester, played by Justin's real-life brother Philip Nozuka. Justin's brother George Nozuka also shared a small role in the same episode playing the third brother, Chad.

Discography[link]

Studio albums[link]

Extended Plays[link]

Blue Velvet Sea - EP

Singles[link]

Other releases[link]

• iTunes Festival: London - Justin Nozuka (live) - EP (2007) Available in the U.K.

B-sides[link]

• Ain't No Sunshine (Cover)
• Blue Velvet Sea
• By Your Side (Cover)
• Bad Fog Of Loneliness (Cover)
• Comfort In Emptiness
• Don't Listen To A Word You've Heard (Hidden Track)
• Grandma's Hands (cover)
• Hollow Men
• Lullabye
• Motherland
• Seasons Change
• Sitting On The Dock Of The Bay (Cover)
• Sorry
• Why
• I Wanna Know
• I Don't Know

Videos[link]

• Mr. Therapy Man (Holly, 2007) ^[10]
• Criminal (Holly, 2007 and 2009) ^[11]
• After Tonight (Holly, 2007) ^[12]
• Be Back Soon (Holly, 2008) ^[13]
• Golden Train (Holly, 2009) ^[14]
• My Heart is Yours (You I Wind Land and Sea, 2010) ^[15]
• "Heartless" (You I Wind Land and Sea, 2010)
• "Save Him" (Holly, 2007) ^[16]
• "Gone" (2011) ^[17]

"Love Controls The Sun" (The Other Side of Tomorrow, 2011) ^[18]

Guest contributions[link]

• Bad Fog of Loneliness, from the album Borrowed Tunes II: A Tribute To Neil Young (2007)

• At Long Last You by Joe Sbrocchi f/ Justin Nozuka - Fatlabs Studio (2007) ^[19]

References[link]

External links[link]

• Official website
• Official french website
• Justin Nozuka on Myspace
• Justin Nozuka on Facebook

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