Annual Report 2019 / 2020 3 President’S Message
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Métis Women: Strong and Beautiful Métis Women: Strong and Beautiful © 2011 National Aboriginal Health Organization ISBN: 978-1-926543-58-1
Métis Women: Strong and Beautiful Métis Women: Strong and Beautiful © 2011 National Aboriginal Health Organization ISBN: 978-1-926543-58-1 OAAPH [known as the National Aboriginal Health Organization (NAHO)] receives funding from health Canada to assist it to undertake knowledge-based activities, including education, research and dissemination of information to promote health issues affecting Aboriginal Peoples. However, the contents and conclusions of this publication are solely those of the authors and are not attributable, in whole or in part, to Health Canada. All Rights Reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, photocopying, recording or otherwise, without prior written permission of the publisher. Please cite using the following format: Russell, Chantelle (2011). Métis Women: Strong and Beautiful. Ottawa: National Aboriginal Health Organization. Cover art by Victoria Pruden. Special Acknowledgements: Catherine Graham Sonia Wesche Métis Nation British Columbia Native Women’s Association of Canada Women across the Métis Nation Copies of this publication may be obtained by contacting: Métis Centre National Aboriginal Health Organization 220 Laurier Avenue West, Suite 1200 Ottawa, Ontario K1P 5Z9 Phone: 613-237-9462 Toll-free: 1-877-602-4445 Fax: 613-237-8707 Email: [email protected] Website: www.naho.ca/metiscentre Under the Canadian Constitution Act, 1982, the term Aboriginal Peoples refers to First Nations, Inuit and Métis people living in Canada. However, common use of the term is not always inclusive of all three distinct peoples, and much of the available research only focuses on particular segments of the Aboriginal population. -
The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos. -
Changing Horizons
Changing Horizons SASKATCHEWAN ARTS BOARD 2015-2016 ANNUAL REPORT MISSION: VALUES: TABLE OF CONTENTS: The Saskatchewan Arts Board recognizes, • Accessibility — We are committed to Letter of Transmittal 2 encourages and supports the arts to enrich providing accessible and user-friendly Message from the Chair 3 community well-being, creativity, diversity and services for our clients. Message from the Chief Executive Officer 4 prosperity. • Diversity — We are committed to building Board & Staff 5 an organization that reflects the ever- VISION: Stories 6 increasing diversity of the people of A creative society where the arts, artistic Saskatchewan and which embraces a In Memory 35 expression and innovation play a dynamic role broad scope of creativity and artistic Strategic Plan 36 and are accessible to everyone in expression through the arts. Permanent Collection: New Acquisitions 38 Saskatchewan. • Accountability — Our policies and Permanent Collection: Works on Loan 40 processes are transparent and reflect a Grants & Funding 42 commitment to effective stewardship for Jurors, Assessors & Advisors 46 the public trust we hold. Management Responsibility for Financial Information 48 • Collaboration — We recognize greater Auditor's Report 48 outcomes will be achieved through Financial Statements 49 collaboration, partnerships and the engagement of clients, staff and Notes to the Financial Statements 51 stakeholders. • Excellence — Our commitment to focusing on our clients and going above and beyond to support excellence in the arts. • Adaptability — Our ability to think differently, innovate and continuously evolve in order to support our clients and the dynamic role of the arts within a creative society. Cover Image: Gabriela García-Luna Blue Wheat , 2011 Giclée print on paper Photo courtesy of the artist The Saskatchewan Arts Board provides opportunities to change horizons for people across Saskatchewan. -
Ayapaahipiihk Naahkouhk
ILAJ YEARS/ANS parkscanada.gc.ca / parcscanada.gc.ca AYAPAAHIPIIHK NAAHKOUHK RESILIENCE RESISTANCE LU PORTRAY DU MICHIF MÉTIS ART l880 - 2011 Parks Parcs Canada Canada Canada RESILIENCE / RESISTANCE MÉTIS ART, 1880 - 2011 kc adams • jason baerg • maria beacham and eleanor beacham folster • christi belcourt bob boyer • marie grant breland • scott duffee - rosalie favell -Julie flett - Stephen foster david garneau • danis goulet • david hannan • rosalie laplante laroque - jim logan Caroline monnet • tannis nielsen • adeline pelletier dit racette • edward poitras • rick rivet BATOCHE NATIONAL HISTORIC SITE PARKS CANADA June 21 - September 15, 2011 Curated by: Sherry Farrell Racette BOB BOYER Dance of Life, Dance of Death, 1992 oil and acrylic on blanket, rawhide permanent collection of the Saskatchewan Arts Board RESILIENCE / RESISTANCE: METIS ART, 1880-2011 TABLE OF CONTENTS Foreword 4 Aypaashpiihk, Naashkouhk: Lii Portray dii Michif 1880 - 2011 5 Curator's Statement 7 kcadams 8 jason baerg 9 maria beacham and eleanor beacham folster 10 christi belcourt 11 bob boyer 12 marie grant breland 13 scott duffee 14 rosaliefavell 15 Julie flett 16 Stephen foster 17 david garneau 18 danis goulet 19 david hannan 20 rosalie laplante laroque 21 jim logan 22 Caroline monnet 23 tannis nielsen 24 adeline pelletier dit racette 25 edward poitras 26 rick rivet 27 Notes 28 Works in the Exhibition 30 Credits 32 3 Resilience/Resistance gallery installation shot FOREWORD Batoche National Historic Site of Canada is proud to host RESILIENCE / RESISTANCE: MÉTIS ART, 1880-2011, the first Metis- specific exhibition since 1985. Funded by the Government of Canada, this is one of eighteen projects designed to help Métis com munities preserve and celebrate their history and culture as well as present their rich heritage to all Canadians. -
Goose Lane Editions Fall 2018 Where to Begin? with a Heartbeat
Goose Lane Editions Fall 2018 Where to begin? With a heartbeat. A word. An image. Fall 2018. A season of provocation, of entertainment, of complete absorption. A season of ideas. And of emotion. “This is where the heart of feminism beats.” — Annie Lennox on Powered by Love This fall our selection of new titles includes books destined for everyone’s reading list: a provocative (and yes, decidedly controversial) book on the myths of mammography by investigative journalist Renée Pellerin; a memoir of a river by one of Canada’s best nature writers, Wayne Curtis; and the first of two volumes on the Great Trail by hiker extraordinaire Michael Haynes. “Blunt, honest and well-researched.” — Flurt on F-Bomb Readers will be entranced by fabled lawman Strother Purcell in Ian Weir’s deadpan revisionist western and pulled into the undertow of history in Paul Carlucci’s ravaged high-rise of the north. In icehouse poetry, renowned poet Patricia Young and first-book author Dominque Bernier-Cormier will encourage readers to cast their gaze on a pungent, pulsating universe. Full stop. And then, with much ado, we’ll unveil a dazzling array of illustrated books, including three distinctive books of photography. ...Everything Remains Raw records the evolution of the Toronto hip hop scene through graffiti, magazine shoots, and behind-the-scenes documentary photographs. The Lost City documents the vanished neighbourhoods of Saint John razed by the progress of “urban development” in arresting, black-and-white photographs by Ian MacEachern. In One Wave, Ned Pratt transforms the Newfoundland landscape into distillations of form and colour — without a hint of nostalgia. -
MACKENZIE ART GALLERY Engaging People in Transformative Experiences of the World Through Art JOB POSTING Job Title: Director Of
MACKENZIE ART GALLERY engaging people in transformative experiences of the world through art JOB POSTING Job Title: Director of Programs (DoP) Reports to: Executive Director and CEO Department: Programs Status: Full-Time, Out-of-Scope Position, Contract position (five-year term) About the MacKenzie Art Gallery The MacKenzie Art Gallery plays an important role in the Canadian and International art ecosystem. Programming primarily contemporary art from the prairies, Canada and abroad, the MacKenzie addresses an encyclopedic range of visual art and has a proud and consistent history of being an ally in exhibiting and collecting the work of Indigenous artists, with leadership from Indigenous curators. The MacKenzie is at a crucial point in our history where we are seeking to critically examine our own histories, failings, and opportunities as we redefine our role as a cultural institution within our community. We are seeking a visionary leader who can bring a spirit of care, thoughtfulness, play, experimentation, and responsibility to our artistic vision, guiding a professional team to work collaboratively with each other, with artists, and our broader community. Opening in 1953 on the University of Saskatchewan Regina Campus (now the University of Regina), in the first purpose-built art gallery building in western Canada, the MacKenzie enjoys a nationally unique partnership with the U of R. After separating in 1990, and moving to its current premises, MAG now maintains separate board governance, site and an expansive mandate and quarters in the T.C. (Tommy) Douglas Building. The MacKenzie features an outdoor sculpture garden with potential for growth through loans, acquisitions and commissions. -
The National Gallery of Canada: a Hundred Years of Exhibitions: List and Index
Document generated on 09/28/2021 7:08 p.m. RACAR : Revue d'art canadienne Canadian Art Review The National Gallery of Canada: A Hundred Years of Exhibitions List and Index Garry Mainprize Volume 11, Number 1-2, 1984 URI: https://id.erudit.org/iderudit/1074332ar DOI: https://doi.org/10.7202/1074332ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Mainprize, G. (1984). The National Gallery of Canada: A Hundred Years of Exhibitions: List and Index. RACAR : Revue d'art canadienne / Canadian Art Review, 11(1-2), 3–78. https://doi.org/10.7202/1074332ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ The National Gallery of Canada: A Hundred Years of Exhibitions — List and Index — GARRY MAINPRIZE Ottawa The National Gallerv of Canada can date its February 1916, the Gallery was forced to vacate foundation to the opening of the first exhibition of the muséum to make room for the parliamentary the Canadian Academy of Arts at the Clarendon legislators. -
Texts of the Exhibition Presented at the Mccord Museum from June 20, 2012 to January 26, 2013
Texts of the exhibition Presented at the McCord Museum From June 20, 2012 to January 26, 2013. Table of Contents Introduction 2. 1 – The end of the world in 2012 2. 2 – Political calamities 4. 2.1 World War II 1939-1945 4. 2.2 The Cold War 1947-1991 6. 2.3 The former Yugoslavia 1991-2001 7. 2.4 Israel 1995- … 7. 2.5 New York 2001 8. 2.6 Iran 1978-1979 8. 2.7 Uganda 1971-1979 9. 2.8 Haiti 1980 9. 2.9 Paris 1986 9. 2.10 Rwanda 1994 9. 2.11 The Persian Gulf 1991 9. 2.12 Darfur 2003- … 10. 2.13 Iran 2009 10. 2.14 The Arab World 2010- … 10. 2.15 Iraq 2003-2011 12. 2.16 Al-Quaeda 2001- … 12. 2.17 Afghanistan 2001- … 14. 3 – Plagues 14. 4 – The calamity of being mortal 15. 5 – Calamities that … aren’t 18. 5.1 Y2K, or the Millennium Bug 18. 5.2 The trials and tribulations of the Montreal Canadiens 18. 5.3 Is Montreal on its last legs? 22. 5.4 Damn winter! 24. 6 – The end of the blue planet? 25. 6.1 The Gulf of Mexico 2010 26. 6.2 The province of Quebec 2007 26. 6.3 Off the coast of Spain 2002 26. 6.4 Chernobyl 1986 27. 6.5 The province of Quebec 1998 27. 6.6 Haiti 2010 27. 6.7 Japan 2011 27. 6.8 Climate change 28. 7 – Cartoonists biographies 29. Cartooning Calamities! 1 ã McCord Museum, 2012 Introduction The history of humanity is punctuated by all sorts of calamities: predicted disasters that never happen, cataclysms that take people by surprise and destroy their lives, wars that devastate whole countries, trifling misfortunes raised to the level of catastrophe to add a little spice to life. -
MANGAARD C.V 2019 (6Pg)
ANNETTE MANGAARD Film/Video/Installation/Photography Born: Lille Værløse, Denmark. Canadian Citizen Education: MFA, Gold Medal Award, OCAD University 2017 BIO Annette Mangaard is a Danish born Canadian media artist and filmmaker who has recently completed her Masters in Interdisciplinary Art, Media and Design. Her installation work has been shown around the world including: the Armoury Gallery, Olympic Site in Sydney Australia; Pearson International Airport, Toronto; South-on Sea, Liverpool and Manchester, UK; Universidad Nacional de Río Negro, Patagonia, Argentina; and Whitefish Lake, First Nations, Ontario. Mangaard has completed more then 16 films in more than a decade as an independent filmmaker. Her feature length experimental documentary on photographer Suzy Lake and the history of feminism screened as part of the INTRODUCING SUZY LAKE exhibition October 2014 through March 2015 at the Art Gallery of Ontario. Mangaard was nominated for a Gemini for Best Director of a Documentary for her one hour documentary, GENERAL IDEA: ART, AIDS, AND THE FIN DE SIECLE about the celebrated Canadian artists collective which premiered at Hot Doc’s in Toronto then went on to garner accolades around the world. Mangaard’s one hour documentary KINNGAIT: RIDING LIGHT INTO THE WORLD, about the changing face of the Inuit artists of Cape Dorset premiered at the Art Gallery of Ontario and was invited to Australia for a special screening celebrating Canada Day with the Canadian High Commission. Mangaard’s body of work was presented as a retrospective at the Palais de Glace, Buenos Aires, Argentina in 2009 and at the PAFID, Patagonia, Argentina in 2013. In 1990 Mangaard was invited to present solo screenings of her films at the Pacific Cinematheque in Vancouver, Canada and in 1991 at the Kino Arsenal Cinematheque in Berlin, West Germany. -
John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism
John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism by Matthew Purvis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2020, Matthew Purvis i Abstract This dissertation concerns the relation between eroticism and nationalism in the work of a set of English Canadian artists in the mid-1960s-70s, namely John Boyle, Greg Curnoe, and Joyce Wieland. It contends that within their bodies of work there are ways of imagining nationalism and eroticism that are often formally or conceptually interrelated, either by strategy or figuration, and at times indistinguishable. This was evident in the content of their work, in the models that they established for interpreting it and present in more and less overt forms in some of the ways of imagining an English Canadian nationalism that surrounded them. The dissertation contextualizes the three artists in the terms of erotic art prevalent in the twentieth century and makes a case for them as part of a uniquely Canadian mode of decadence. Constructing my case largely from the published and unpublished writing of the three subjects and how these played against their reception, I have attempted to elaborate their artistic models and processes, as well as their understandings of eroticism and nationalism, situating them within the discourses on English Canadian nationalism and its potentially morbid prospects. Rather than treating this as a primarily cultural or socio-political issue, it is treated as both an epistemic and formal one. -
Jessica Eaton
JESSICA EATON Press Pack 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM JESSICA EATON BORN 1977, Regina, Saskatchewan EDUCATION 2006 BFA Photography, Emily Carr University of Art and Design, Vancouver SOLO & TWO PERSON EXHIBITIONS 2016 M+B, Los Angeles, CA Transmutations, Galerie Antoine Ertaskiran, Montreal, QC 2015 Wild Permutations, Oakville Galleries at Centennial Square, Oakville, ON Custom Colour, Higher Pictures, New York, NY Wild Permutations, MOCA Cleveland, Cleveland, OH 2014 Jessica Eaton: New Works, Jessica Bradley Gallery, Toronto, ON Ad Infinitum, The Photographers’ Gallery/The Hospital Club, London, UK 2013 Flash: Jessica Eaton, California Museum of Photography, Riverside, CA Hyères 2013: International Festival of Fashion and Photography, Hyères, France 2012 Polytopes, M+B, Los Angeles, CA Squeezed Coherent States, Clint Roenisch Gallery, Toronto, ON 2011 Cubes for Albers and LeWitt, Higher Pictures, New York, NY The Whole is Greater Than The Sum of The Parts: Lucas Blalock and Jessica Eaton, Contact Gallery / Contact Photography Festival 2011, Toronto, ON 2010 Strata: New works by Jessica Eaton, Red Bull 381 Projects, Toronto, ON Umbra Penumbra, PUSH Galerie, Montréal, QC 2009 Variables, LES Gallery, Vancouver Photographs, Hunter and Cook HQ, Toronto, ON GROUP EXHIBITIONS 2016 There is nothing I could say that I haven’t thought before, in collaboration with Cynthia Daignault, Stems Gallery, Brussels, Belgium 2015 Russian Doll, M+B, Los Angeles, CA Are You Experienced?, -
MACKENZIE ART GALLERY Engaging People in Transformative Experiences of the World Through Art
MACKENZIE ART GALLERY engaging people in transformative experiences of the world through art Job Title: Communications Manager Department: Development & Communications Status: Full Time Out-of-Scope The Position: The MacKenzie Art Gallery is seeking a thoughtful and creative candidate to fill the role of Communications Manager. Our Mission is to provide transformative experiences through art; we aim to provoke ideas, emotions, and discussion with open-minded exploration; we are on treaty land and we are proud to be an ally in championing Indigenous artists; and we recognize that it is our responsibility to reflect our diverse communities and make the gallery a welcoming space. We encourage applicants who can help us live up to these ideals and create meaningful, reciprocal and innovate connections with our various communities. Reporting to the Director of Development, the Manager of Communications combines proven skills and experience to plan and implement the extensive communications and marketing needs of the MacKenzie. As an integral part of the senior leadership team, the Communications Manager will design, execute, and assess multi-year and annual marketing and communications strategies for the Gallery. As the leader of the Communications team at the MacKenzie Art Gallery, the Communications Manager helps build effective relationships across the organization and the community. The team gathers qualitative and quantitative data and feedback gathered through multiple communications channels, synthesizing communication impacts that can drive recommendations through the development of reports, analyses, and recommendations to the CEO and the senior leadership team. About the MacKenzie Art Gallery: The MacKenzie Art Gallery is Saskatchewan’s original and most comprehensive art museum, serving a leadership role in Western Canada.