The twentieth century has witnessed many transformations in the way we produce and respond to works of art. It has seen the birth of entirely new media, approaches and a wealth of new interpretive frameworks. The emergence of artefacts, modernism and a ubiquitous mass culture contributed to the disruption of established artistic practices and approaches in the 1960s and 1970s. Pop Art emerges as an important response to, extension to, or parody of what Clement Greenberg called “surrogate culture” and “kitsch,” which, to paraphrase Greenberg, represent the ubiquitous abominations of commercial and replicated art (Greenberg 9). This essay will observe and discuss the interplay of Canadian pop culture, art and identity in Joyce Wieland's "O Canada (Animation)," and highlight how Pop Art works serve to elevate kitsch into "a new state of aesthetic dignity" ( Eco 228). Made in 1970, the year of Wieland's return to Canada, “O Canada (Animation)” is a large embroidery on fabric depicting a series of bright red and sensual lips that mouth the words of the Canadian anthem, ultimately a visual image interpretation of his lip sync. (It also exists as a lithographic print, where the mouths are similar to lipstick). The mouths are similar to those of pin up girls and advertisements; the piece hangs freely like a pennant or flag. Wieland has just spent several years in New York City and is now dedicating herself to works that deal with Canadian nationalism and traditionally feminine craftsmanship. “O Canada” will become the official Canadian anthem only in 1980, but already in 1966 Lester B. Pearson is making proposals for the song to become the country's anthem. Likewise, the maple leaf flag was first flown in 1965 – nationali...... middle of paper...... New York: Schocken Books, 2007. pp 217-51-Eco , Umberto, “Lowbrow Highbrow, Highbrow Lowbrow” in Pop Art: critical dialogue, ed. Carol Anne Mashun (Ann Arbor & London: UMI Research Press, 1989)-Fleming, Marie, excerpt from "Joyce Wieland: A Perspective", Joyce Wieland (Tornto: Art Gallery of Ontario, 1987), pp. 44-70-Greenberg, Clement, “Avant-Garde & Kitsch” (first published 1939) Art and Culture: Critical Essays (Boston: Beacon Press, 1939) pp.3-21-Hebdige, Dick, “In Poor Taste: Notes on Pop,” chapter in Modern Dreams: The Rise and Fall of Pop (New York: ICA & London: MIT Press, 1988) pp. 77-85-McTavish, Lianne “Body Narratives in Canada, 1968-99: Sarah Maloney, Catherine Heard and Kathleen Sellars” in Woman's Art Journal, vol. 21, no. 2 Autumn 2000 - Winter 2001. pp. 5-20-Wieland, Joyce, “O Canada (Animation)” Embroidery on fabric. 1970.