Renowned for her rich and diverse practice, interdisciplinary artist Nadia Myre weaves together personal and political narratives around Indigenous identity, both past and present. Navigating the complex legacies of colonialism, nationhood and memory, her work fosters profound dialogues on the politics of belonging. 

Nadia Myre: Waves of Want presents more than two decades of Myre’s practice, including beadwork, sculpture, installation, video and poetry. Featuring essays and stunning reproductions, this volume examines how we engage with history through art, archives and language. 

Softcover | 176 pages 
22.9 × 27.9 cm (9 × 11 in.) 
Publication date: 2025

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 3.81 cm (1.5 in.)

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 5.72 cm (2.25 in.)

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 2.54 cm (1 in.)

Our logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada 
Diameter: 3.81 cm (1.5 in.)

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Four colours available - please make your colour selection using the drop-down box.

Ceramic
Holds 315 ml (11 fl. oz)
Microwave and dishwasher safe

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

Made in Canada
200 pages (right side lined/left side blank)
Spiral bound, lays flat when opened
23 x 16 x 1 cm (9 x 6.3 x 0.4 in.)

This ballpoint pen features the logo of the National Gallery of Canada.

Ink Colour: Black 
Length: 14 cm (5.5 in.) 
Made in Mexico

Designed, printed, and sewn in Canada, this tote bag features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
33 x 38 x 7.6 cm (13 x 15 x 3 in.)
65% polyester | 35% cotton

Our new logo takes its cue from the Algonquin word Ankosé, going from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being. The colour palette comes from the northern lights, representing diverse voices, ideas, artists, perspectives, times, and places.

183 cm (42 in.) open, 43 cm (17 in.) closed
Auto Open
Rubberized Handle
100% Polyester

Designed, printed, and sewn in Canada, this unisex t-shirt features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
100% cotton

Designed, printed, and sewn in Canada, this youth t-shirt features the National Gallery of Canada's new logo on its front and vision on its back.

Meaning “everything is connected,” “tout est relié,” the Algonquin word Ankosé beautifully symbolizes the Gallery’s purpose to nurture interconnection across time and place. Taking its cue from this concept, the logo shifts from a western world view of hard geometry, to a circle, inspired by Indigenous ways of knowing and being.

Made in Canada
100% cotton

This switch plate features a detail from Tom Thomson's painting Northern River (1915) in the collection of the National Gallery of Canada.

Made for single gang toggle switch
11.43 x 6.98 cm (4.5 x 2.75 in)

Joyce Wieland (1930-1998)
O Canada, 4-16 December 1970

Wieland emerged on Toronto’s experimental visual-arts scene in the early 1960s. The first living woman artist to be granted a solo exhibition at the NGC, she blended pop-art strategies with a sly sense of humour. O Canada represents a pair of lips as they sound out the syllables of the national anthem.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.

Meryl McMaster (b. 1988)
On the Edge of this Immensity, 2019

McMaster combines elements of performance and installation in her photography while exploring the tensions surrounding identity ad heritage, especially her own as a woman of Indigenous (Plains Cree) and European (British/Dutch) descent from Saskatchewan.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.

Meryl McMaster (b. 1988)
On the Edge of this Immensity, 2019

McMaster combines elements of performance and installation in her photography while exploring the tensions surrounding identity ad heritage, especially her own as a woman of Indigenous (Plains Cree) and European (British/Dutch) descent from Saskatchewan.

Card dimensions: 17.5 x 13.5 cm (6.8 x 5.3 in.)
Blank inside. Envelope included.

In the collection of the National Gallery of Canada.

René Villeneuve 

The National Gallery's collection of Quebec silver — the largest and most complete in the world — took its impetus from the donation of the Henry Birks Collection of Canadian Silver in 1979. It has since been strongly enriched. Curator René Villeneuve opens this volume by exploring the formation of the Birks collection in light of the history of silver in Canada and the collector's goals and achievements. He then undertakes the first major stylistic analysis of Quebec silver, going far beyond the compilation of new data to approach the subject from a fresh and intriguing perspective. 

Virginia B. Alexandor, a niece of Henry G. Birks, introduces this study with a charming memoir. The book includes fifty-one black-and-white reproductions, many never before seen. 

Softcover | 124 pages 
18.6 x 28 cm (7.3 x 11 in.) 
Publication Date: 1998

Lori Pauli with Jordan Bear, Karen Hellman and Phillip Prodger

Often referred to as the “Father of Art Photography,” Oscar G. Rejlander (1813–1875) has been praised for his early experiments with combination printing, for his collaboration with Charles Darwin, and for his influence on the work of Julia Margaret Cameron and Lewis Carroll.

Containing more than 200 impressive colour and black and white images, this ground-breaking catalogue accompanies the first major retrospective on a vital yet understudied figure, and considers the whole range of his activities, including his work as a painter and printmaker.

Hardcover | 336 pages
25.5 x 31 cm (10 x 12.2 in.)

Lori Pauli with Jordan Bear, Karen Hellman and Phillip Prodger

Often referred to as the “Father of Art Photography,” Oscar G. Rejlander (1813–1875) has been praised for his early experiments with combination printing, for his collaboration with Charles Darwin, and for his influence on the work of Julia Margaret Cameron and Lewis Carroll.

Containing more than 200 impressive colour and black and white images, this ground-breaking catalogue accompanies the first major retrospective on a vital yet understudied figure, and considers the whole range of his activities, including his work as a painter and printmaker.

Hardcover | 336 pages
25.5 x 31 cm (10 x 12.2 in.)