Museums are frequently sites of struggle and negotiation. They are key cultural institutions that occupy an oftentimes uncomfortable place at the crossroads of the arts, culture, various levels of government, corporate ventures, and the public. Because of this, museums are targeted by political action but can also provide support for contentious politics. Though protests at museums are understudied, they are far from anomalous. Tear Gas Epiphanies traces the as-yet-untold story of political action at museums in Canada from the early twentieth century to the present. The book looks at how museums do or do not archive protest ephemera, examining a range of responses to actions taking place at their thresholds, from active encouragement to belligerent dismissal. Drawing together extensive primary-source research and analysis, Robertson questions widespread perceptions of museums, strongly arguing for a reconsideration of their role in contemporary society that takes into account political conflict and protest as key ingredients in museum life. The sheer number of protest actions Robertson uncovers is compelling. Ambitious and wide-ranging, Tear Gas Epiphanies provides a thorough and conscientious survey of key points of intersection between museums and protest – a valuable resource for university students and scholars, as well as arts professionals working at and with museums.

Kirsty Robertson is an Associate Professor of Contemporary Art and Museum Studies at Western University, Canada. Her research focuses on activism, visual culture, and changing economies. She has published widely on the topic and is currently finishing her book Tear Gas Epiphanies: New Economies of Protest, Vision, and Culture in Canada. More recently, she has turned her attention to the study of wearable technologies, immersive environments, and the potential overlap(s) between textiles and technologies. She considers these issues within the framework of globalization, activism, and creative economies. Her co-edited volume, Imagining Resistance: Visual Culture, and Activism in Canada, was released in 2011.

Kirsty Robertson's profile page

"Tear Gas Epiphanies is an excellent contribution to the field of critical museum studies in Canada and globally. Robertson highlights exhilarating moments of protest, while also offering critical analysis, paying attention to the demands of intersectionality in theory and practice." Shelley Ruth Butler, McGill Institute for the Study of Canada and co-editor of Curatorial Dreams: Critics Imagine Exhibitions

"For students of History, Art, Museum Studies, and Urban Planning, this book teaches the reader how museum spaces, art galleries, and movements around remembrance have been politicized, co-opted, and/or mobilized within these institutions in the Canadian context over the course of the twentieth century. Robertson's work remains important to the field at large and will continue to be interrogated by scholars for years to come." Historical Studies in Education / Revue d'histoire de l'éducation

"Tear Gas Epiphanies is a thoroughly researched and admirably written book. [It] provides a compelling account of museums cum protests/protests cum museums and constitutes a brilliant addition to existing scholarship." RACAR : Revue d'art Canadienne/Canadian Art Review

"Tear Gas Epiphanies presents high-quality, well-designed, and well-examined case studies in the context of political debates around art, museums, and activism. It will be widely read by those interested in the politics of culture, national identity, and public history – its formation, models of resistance, and transformations over time." Kylie Message, Australian National University Humanities Research Centre