1976-77-Annual-Report.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

1976-77-Annual-Report.Pdf TheCanada Council Members Michelle Tisseyre Elizabeth Yeigh Gertrude Laing John James MacDonaId Audrey Thomas Mavor Moore (Chairman) (resigned March 21, (until September 1976) (Member of the Michel Bélanger 1977) Gilles Tremblay Council) (Vice-Chairman) Eric McLean Anna Wyman Robert Rivard Nini Baird Mavor Moore (until September 1976) (Member of the David Owen Carrigan Roland Parenteau Rudy Wiebe Council) (from May 26,1977) Paul B. Park John Wood Dorothy Corrigan John C. Parkin Advisory Academic Pane1 Guita Falardeau Christopher Pratt Milan V. Dimic Claude Lévesque John W. Grace Robert Rivard (Chairman) Robert Law McDougall Marjorie Johnston Thomas Symons Richard Salisbury Romain Paquette Douglas T. Kenny Norman Ward (Vice-Chairman) James Russell Eva Kushner Ronald J. Burke Laurent Santerre Investment Committee Jean Burnet Edward F. Sheffield Frank E. Case Allan Hockin William H. R. Charles Mary J. Wright (Chairman) Gertrude Laing J. C. Courtney Douglas T. Kenny Michel Bélanger Raymond Primeau Louise Dechêne (Member of the Gérard Dion Council) Advisory Arts Pane1 Harry C. Eastman Eva Kushner Robert Creech John Hirsch John E. Flint (Member of the (Chairman) (until September 1976) Jack Graham Council) Albert Millaire Gary Karr Renée Legris (Vice-Chairman) Jean-Pierre Lefebvre Executive Committee for the Bruno Bobak Jacqueline Lemieux- Canadian Commission for Unesco (until September 1976) Lope2 John Boyle Phyllis Mailing L. H. Cragg Napoléon LeBlanc Jacques Brault Ray Michal (Chairman) Paul B. Park Roch Carrier John Neville Vianney Décarie Lucien Perras Joe Fafard Michael Ondaatje (Vice-Chairman) John Roberts Bruce Ferguson P. K. Page Jacques Asselin Céline Saint-Pierre Suzanne Garceau Richard Rutherford Paul Bélanger Charles Lussier (until August 1976) Michael Snow Bert E. Curtis (Ex-officia) Bill Glassco Normand Thériault Blanche Faucher David W. Bartlett George D. Garland ( Secretary-General) Helen Hnatyshyn Executive Staff Charles Lussier, Director Timothy Porteous, Associate Director F. A. Milligan, Associate Director for University Affairs Claude Gauthier, Assistant Director and Treasurer Jules Pelletier, Assistant Director and Chief of Management Advisory Services David Bartlett, Secretary-General for the Canadian Commission for Unesco Alan Armstrong, Secretary of the Council Contents The Canada Council v Humanities and Social Sciences 53 Former Members and Directors vii Consultative Groups and Selection Committees 54 Foreword ix Special M.A. Scholarships 56 Introduction xi Doctoral Fellowshins 58 Leave Fellowships 62 Prizes and Commemorative Awards 1 Research 68 Prises 2 Publication 82 Commemorative Awards Conferences and Travel 84 The Arts Special Grants and Studies a7 Killam Program Juries and Selection Committees 6 Visual Arts and Photography 10 Explorations Program Film 15 Other Programs 97 Video 17 Cultural Exchanges 98 Writing, Publication and Translation 19 Grants for Cultural Exchanges 99 Music and Opera 35 Grants for International Representation 164 Theatre 43 Stanley House 106 Dance 46 M The Canadian Commission for Unesco 107 Other Grants 48 Touring Oillce 49 Finances 109 Introduction 110 Financial Statement 113 Securities 122 Canada Council Publications 128 Introduction Twenty Years in the Wings needs the Council may fil1 in the years to corne, it Will still be mostly in the business For twenty years the Canada Council has of spending money as wisely as possible on been in the wings, behind the scenes, ap- behalf of the arts and, for a while at least, plauding rather than applauded. That is how the humanities and social sciences. it should be, even when the Council takes a Visitors may know this, but they are still more active role than grant-giving, as in the often surprised to see that our offices look Art Bank, the Touring Office and the publica- like other offices. Accounting procedures and tion of special studies. The artists are the computers are part of the daily routine, and stars, and SO - in a more muted way - are the the loudest noise is the clacking of many scholars. When the Council is doing its job, typewriters. Each place in the boardroom it expects them to receive longer and louder cornes equipped with water glass, pad of applause. paper and pencils, and people corne to Nonetheless, it did not hurt one bit to hear meetings armed with sheafs of background the good things said about the Council on its papers thick enough to worry the busiest twentieth anniversary. We still glow at the corporate executive. recollection of, for example, Sandra Gwyn It is true that you see more works of art writing in Saturday NZghct that the Council on display than in most offices, but the has remained true to its sometimes diflicult Council believes that even this difference is mandate, and that it “somehow managed to bound to be less dramatic as the years go by. become the nerviest and the most life-en- Already the Art Bank and the example set hancing [institution] this country has ever by many corporations have brought more art produced.” into government and business offices. The reason for this short but welcome Nonetheless, being part of the Canada burst of applause is to be found not in our Council cari be very rewarding, if only be- boardroom and offices, but spread across the cause of the opportunities to see, hear and country in the form of a more flourishing read the work of some of the most talented community of artists and scholars. and productive people in the country. It also What the Council itself deals with is mostly means meeting artists and scholars. TO get money and advice. It takes on other roles the advice it needs to do its work well, the only because a thing needs doing and there Council consults hundreds of people in the is no one able to do it. For example, if there field. The lists of panels and juries in this were enough buyers and displayers of the report read like a Who’s Who in the arts, best new Canadian art, there would be no humanities and social sciences in Canada, need for an Art Bank, and if private im- and these are only the formally constituted presarios could afford to fil1 a11 the needs of groups. Many other experts are consulted our far-flung country, the Touring Office on a day-to-day basis. would gladly leave the field. Whatever new xi Former Members and Directors of The Canada Council Chairmen John M. Godfrey, 1970-1973 Claude Bissell, 1960-1962 Wilfrid P. Gregory, 1965-1968 Brooke Claxton, 1957-1960 G. Edward Hall, 1960-1966 Jean Martineau, 1964-1969 Margaret Harvey 1959-1963 John G. Prentice, 1969-1974 Eric Harvie, 1957-1959 D. B. Weidon, 1962-1964 Henry D. Hicks, 1963-1969 Bernice Holota, Vice-Chaiimen 1971-1974 Dora de Pedery Hunt, 1970-1973 Gérard Filion, 1962-1964 Frances Hyland, 1973-1976 Brian Flemming, 1974-1976 D. Park Jamieson, 1962-1965 J. Francis Leddy, 1964-1969 Raoul Jobin, 1961-1964 Georges-Henri Lévesque, 1957-1962 Stuart Keate, 1963-1969 Guy Rocher, 1969-1974 Basil Kushnir, 1961-1964 Members Luc Lacourcière, 1962-1965 Murray Adaskin, 1966-1969 Elizabeth Lane, 1970-1973 Mrs. Reginaid R. Arkell, 1957-1959 Annette Lasalle-Leduc, 1964-1967 Jean Adrien Arsenault, 1963-1969 Napoléon LeBlanc, 1964-1970 Ronald Baker, 1970-1976 J. Francis Leddy, 1957-1960 Jules Bazin, 1957-1959 Douglas V. LePan, 1964-1970 Jean-Charles Bonenfant, 1970-1976 Howard Leyton-Brown, 1971-1974 Monique Bosco, 1971-1974 Léon Lortie, 1968-1971 L. W.Brockington, 1957-1962 Frank Lynch-Staunton, 1959-1965 Samuel Bronfman, 1957-1962 Mrs. Angus L. Macdonald, 1957-1963 Alex Colville, 1966-1972 C. J. Mackenzie, 1963-1969 J. A. Corry, 1966-1972 N. A. M. MacKenzie, 1957-1963 Andrée Desautels, 1967-1970 Frank MacKinnon, 1957-1963 Louis A. Desrochers, 1968-1974 W.A. Mackintosh, 1957-1960 John James Deutsch, 1974-1976 Ernest MacMillan, 1957-1963 Mrs. W. J. Dorrance, 1963-1969 Byron March, 1968-1971 Mrs. Stanley Dowhan, 19651968 Pauline McGibbon, 1968-1971 Lady Dunn, 1961-1962 David Monson, 1961-1964 Frederick R. Emerson, 1957-1959 Trevor F. Moore, 1962-1968 Marcel Faribault, 1960-1966 Eustace Morin, 1957-1961 Brian Flemming, 1970-1974 Mme Alfred Paradis, 1957-1961 C. H. Forsyth, 1965-1966 André Paré. 1971-1974 vii -i - Vida Peene, 1957-1961 Georges P. Vanier, 1957-1959 Gilles Pelletier, 1965-1968 David H. Walker, 1957-1961 Kathleen Richardson, 1964-1970 J. M. S. Wardell, 1962-1965 Marquita Riel, 1971-1974 D. B. Weldon, 1961-1962 Claude Robillard, 1966-1969 Gerald M. Winter, 1959-1965 Aileen Ross, 1968-1971 Directors Claude Roussel, 1972-1975 Ignatius A. Rumboldt, 19651968 1957-1965, A. W. Trueman John A. Russell, 1957-1961 1965-1969, Jean Boucher June-Russell, 1972-1975 1969-1971, Peter M. Dwyer David W. Slater, 1968-1972 1971-1975, André Fortier J. W. T. Spinks, 1960-1966 Associate Directors Samuel Steinberg, 1962-1968 1957-1965, Eugène Bussière E. P. Taylor, 1957-1961 1965-1969, Peter M. Dwyer Emile Tellier, 1959-1962 1969-1972, Robert Elie Mme Victor Trénanier. 1961-1964 Foreword This year the Canada Council marks its days. The great vitality of the cultural life twentieth anniversary. Following custom, it of Alberta impressed us a11 very deeply. At has used the occasion for an interna1 evalua- every stop we were greeted warmly, but this tion of its past achievements and present fine display of hospitality did not prevent policies. One need only compare the state of our hosts from being very vocal in their crit- the arts twenty years ago with today to see icism as well as generous with words of that the Council has contributed to the praise and encouragement. The key problem growth and enjoyment of the arts in Canada. is communication. In a country as vast as At the same time, the country has evolved, Canada, how cari we keep in touch with the and the Council must be responsive to communities we serve and, ideally at least, changing needs.
Recommended publications
  • The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information
    Cambridge University Press 978-1-107-15962-4 — The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information The Cambridge Companion to Canadian Literature This fully revised second edition of The Cambridge Companion to Canadian Literature offers a comprehensive introduction to major writers, genres, and topics. For this edition several chapters have been completely re-written to relect major developments in Canadian literature since 2004. Surveys of ic- tion, drama, and poetry are complemented by chapters on Aboriginal writ- ing, autobiography, literary criticism, writing by women, and the emergence of urban writing. Areas of research that have expanded since the irst edition include environmental concerns and questions of sexuality which are freshly explored across several different chapters. A substantial chapter on franco- phone writing is included. Authors such as Margaret Atwood, noted for her experiments in multiple literary genres, are given full consideration, as is the work of authors who have achieved major recognition, such as Alice Munro, recipient of the Nobel Prize for literature. Eva-Marie Kröller edited the Cambridge Companion to Canadian Literature (irst edn., 2004) and, with Coral Ann Howells, the Cambridge History of Canadian Literature (2009). She has published widely on travel writing and cultural semiotics, and won a Killam Research Prize as well as the Distin- guished Editor Award of the Council of Editors of Learned Journals for her work as editor of the journal Canadian
    [Show full text]
  • Finding Artwork
    Splash Page THE PLASTICIENS AND BEYOND MONTREAL 1955 - 1970 Varley Art Gallery of Markham CONTACT INFO Varley Art Gallery 216 Main St Unionville, ON L3R 2H1 905-477-9511 ext. 3263 http://www.visitthevarley.com/ ABOUT THE GALLERY The Varley Story The Group of Seven The Group of Seven is famously known to have established a distinct aesthetic to the Canadian landscape, its members are historically recognized for the impact they have made on the Canadian art movement. Frederick Varley, Tom Thomson, J.E.H MacDonald, Arthur Lismer, Frank Johnston, and Franklin Carmichael would first meet as employees at the design firm Grip Ltd in Toronto. These six men would come together during and after work discussing bold new directions for Canadian Art, they were joined by A.Y Jackson and Lawren Harris in 1913. With the support of Dr. James MacCallum, an artist and university professor, the group raised money to build the Studio Building for Canadian Art in Toronto. It was there that they would create masterpieces as they discovered the distinct light of the Canadian atmosphere and capture it in bold new ways. The production the group was interrupted as they suffered tragedy when Tom Thomson, one of the founding members died in mysterious circumstances; shortly after, some of the members left to serve in the First World War. It was not until 1920 that the Group of Seven officially formed with their first exhibition in Toronto. Once their popularity grew, the artists began to travel Canada capturing what inspired them. The group shared a like vision concerning art in Canada.
    [Show full text]
  • Bruno Bobak the Full Palette
    BRUNO BOBAK THE FULL PALETTE Edited by Bernard Riordon Goose Lane Editions and The Beaverbrook Art Gallery Bobak-V2.indd 3 9/7/06 11:03:46 AM Copyright © 2006 by The Beaverbrook Art Gallery. All rights reserved. No part of this work may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying, recording, or any retrieval system, without the prior written permission of the publisher or a licence from the Canadian Copyright Licensing Agency (Access Copyright). To contact Access Copyright, visit www.accesscopyright.ca or call 1-800-893-5777. On the cover: The Tired Wrestler, 1964, oil canvas, 120.0 x 100.0 cm. Gift of Mel and Stephen Ross in memory of Reuben Ross. NAC: 965.29. Leonard and Bina Ellen Art Gallery, Concordia University, Montreal QC Book jacket and page design by Julie Scriver. Typeset by Troy Cole – Envision Graphic Design. Printed in Canada. 10 9 8 7 6 5 4 3 2 1 Library and Archives Canada Cataloguing in Publication Bruno Bobak: the full palette / Bernard Riordon, editor. Co-published by Beaverbrook Art Gallery. Includes bibliographical references and index. ISBN 0-86492-481-X 1. Bobak, Bruno. 2. Artists — Canada — Biography. I. Riordon, Bernard II. Beaverbrook Art Gallery. III. Title: Full palette. N6549.B6252F84 2006 709'.2 C2006-904661-1 Goose Lane Editions acknowledges the financial support of the Canada Council for the Arts, the Government of Canada through the Book Publishing Industry Development Program (BPIDP), and the New Brunswick Department of Wellness, Culture and Sport for its publishing activities.
    [Show full text]
  • Twentieth-Century Canadian Law, Psychiatry, and Social Activism in Relation to Pedophiles and Child Sex Offenders
    Twentieth-Century Canadian Law, Psychiatry, and Social Activism in Relation to Pedophiles and Child Sex Offenders By Justin F. Smith Thesis Submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements of the MA degree in History University of Ottawa © Justin F. Smith, Ottawa, Canada, 2017 ABSTRACT Twentieth-Century Canadian Law, Psychiatry, and Social Activism in Relation to Pedophiles and Child Sex Offenders Justin Smith Supervisor: University of Ottawa Heather Murray The contemporary conflation of pedophiles and child sex offenders is a prevalent aspect of reporting in news and social media, as well as in government- sponsored efforts to prevent child sexual victimization. Throughout twentieth century Canada, however, legal experts, psychologists and psychiatrists, and social activists were recognizing the harmfulness of grouping individuals who may have a propensity to commit crime with those who have committed the most heinous of criminal acts. As early as 1938, Canadian legal experts suggested that criminal insanity was a myth, advocating for a divergence between legal punishment and psychiatric healthcare, but after World War 2 had enacted serious efforts targeting criminal sexual psychopathy. Successive Royal Commissions investigating sexual victimization and child abuse revealed that Canadian courts, jails, prisons, and remand services were unable to solely deal with the realities of child sexual victimization. Psychologists and psychiatrists of the American Psychological Association increasingly researched sex and sexuality, classifying pedophilia as a paraphilia using child sexual victimization as a diagnostic indicator and criterion. Gay liberation activists discussed inequalities posed between hetero- and homosexual ages of consent and, more rarely, thought about the total abolition of age of consent.
    [Show full text]
  • Aboriginal Arts Research Initiative
    ABORIGINAL ARTS RESEARCH INITIATIVE REPORT ON CONSULTATIONS Presented to Claire McCaughey, Research Manager, Strategic Initiatives Division Canada Council for the Arts Prepared by France Trépanier June 2008 For more information or additional copies of this document, please contact: Research Office 350 Albert Street. P.O. Box 1047 Ottawa ON Canada K1P 5V8 (613) 566-4414 / (800) 263-5588 ext. 4526 [email protected] Fax (613) 566-4428 www.canadacouncil.ca Or download a copy at: http://www.canadacouncil.ca/publications_e Publication aussi offerte en français TABLE OF CONTENTS 1. Introduction ................................................................................... 3 2. Methodology.................................................................................. 5 3. Objectives...................................................................................... 6 4. Context........................................................................................... 8 4.1 History..................................................................................... 8 4.2 Current Context....................................................................... 9 5. Values .......................................................................................... 12 6. Themes......................................................................................... 14 6.1 Definition of Aboriginal Art and Artist..................................... 14 6.2 Traditional and Contemporary Art ........................................ 17 6.3
    [Show full text]
  • A Canadian Child's Year by Fran Newman
    Volume 8, Number 1 January. 1979 The Ghost Calls You Poor. by PBATURES Andrew Suknaski; lkons of the ILLUSTRATIONS Hunt. by There Kishkan: Once Balanehtg the Book% The results of e When I War Drowning. by Al Cover end drawing on pe8e 5 survey rating CanLit reputations Pittman 14 by Kim la Few bigger some editoriel rdleztions on Some of the Cat Poems. by Anie Drawings by Geor8e Unger 7.8.9 Cumde’s CUltural meturity 3 Gold; The Assumption of Private Othw drawings throughout the issue Rttglii, Our English. An essay by Lives. by Roben Allen; Prisoner. by by loan Acosta George Bowering examines how the Linda Pyke: A Burning Patience language is being tortured by the and Dancing in the House of Card% grammetieal berbariisms and by Pier Giorgio Di Cicco 14 onblocked meuphon that abound in The Trial of Adolf Hitler. by Phillipe daily, weekly. and monthly we Rjndl IS joumalism 7 Canadien Poetry I and 2. edited by Bigger Bmthexhood. Wayne Grady Michael Gnemwski and 0. M. R. reviews 1985 by Anthony Burgess. e Bentley; Book Forum: Canada revised and updated version of Emergent. edited by James Cerley lb George Orwell’s not-so-prophetic Making Arrangements. by Roben nightmare IO Herlow 16 A Dream of Riches: The Japanese Canadians 1877-3977. by the Japanese Centennial Reject 17 Go Do Some Great Thing. by CONTRIBUTORS Crawford Kilian I8 Lost Toronto. by William Dendy: Yesterday’s Toronto. lg70-1910. Tometo frecleecer Msrk Abley rpcn, the part edited by Linda Shapim I9 three years al O&ford es a Rhodes Scholar from Seskatchewm.
    [Show full text]
  • Cakes in Perspective
    Cakes in Perspective © Monique Martin www.moniqueart.com Georges Vanier School, Saskatoon Shannon Grade 5 Objectives • to be able to draw a piece of cake or a entire cake in perspective • To be able to self evaluate whether something is in perspective or not • explore colour relationships in the environment and in own surroundings • become more aware of real texture through tactile experiences • understand that space can be positive or negative in art works • begin to understand the effects of using formal and informal patterns, and create patterns through techniques such as repetition • demonstrate the ability to perceive visual details, and include details to enhance depictions of plants, animals, people, and objects • understand that proportion is a matter of size comparison • understand they can create the illusion of three dimensions through drawing • understand that closer objects appear to be larger than those farther away • expand skills and abilities in using various visual art tools and materials • view art works with a willingness to try to understand the artist’s intentions • explore various ways that people can respond to a work of art (e.g., thoughts, feelings, associations) • realize that knowing more about an artist and his/her society can help them understand an art work • engage willingly in a process for viewing and responding to art works Caitlyn Grade 5 Materials Drawing paper 3d versions of pieces of cake (pattern at the end of the lesson) Scrap paper Chart paper Coloured markers Paint Oil pastels Image of work by Mary Pratt Background Information This is really a lesson on perspective and line.
    [Show full text]
  • Summaries of the Articles
    Document généré le 25 sept. 2021 09:53 Vie des arts Summaries of the Articles Numéro 44, automne 1966 URI : https://id.erudit.org/iderudit/58373ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article (1966). Summaries of the Articles. Vie des arts, (44), 97–103. Tous droits réservés © La Société La Vie des Arts, 1966 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ SUMMARIES OF THE ARTICLES Translation by BILL TRENT tbe Canadian carrefour BY GILLES HÉNAULT Apart from artist-architect collaboration, it is of interest that once In the world of art, Canada is a carrefour, a sort of meeting place a building is completed, the owners automatically search out the of the great aesthetic currents of Europe and America, a part of the art vendors. An interesting example is the C.I.L. collection. But Paris-New York-San Francisco axis. Long the disciples of a pictur­ company officials also call on the artists when it comes time to esque provincialism, Canadian painters have for the past 20 years decorate their offices.
    [Show full text]
  • Canada's National Ballet School
    Canada’s National Ballet: 50 Years of Evolution by Paula Citron It was clear with the founding of the National Ballet of Canada in 1951 that a future national ballet school was a necessity. Betty Oliphant and Celia Franca are the two remarkable women who co-founded Canada’s National Ballet School in 1959. As Oliphant wrote in her autobiography Miss O: My Life in Dance: “Celia Franca and I knew that a good company needs a good school to feed it.” James Neufeld says in his book Power to Rise: The Story of the National Ballet of Canada: “(Franca) was a teacher of professionals and saw with a teacher’s eye that the raw material before her had to be shaped and trained. Teaching would be the key to the company’s success.” The NBS is commemorating its 50th anniversary this year, and there is much to celebrate. The school is considered among the top professional ballet academies in the world. Just as the Herculean efforts of Oliphant and Franca helped found the school, so have the innovative policies of Oliphant and her chosen successor, Mavis Staines (class of 1972), help raise the school to its lofty perch in the world of dance education. On the recommendation of Dame Ninette de Valois of the Sadler’s Wells Ballet, Franca came from England to Toronto in 1951 to found the National Ballet of Canada. Betty Oliphant, who had arrived from England in 1947 as a war bride, ran a successful ballet school in the city. Oliphant was asked by Franca to become the company’s ballet mistress.
    [Show full text]
  • Gp 3.Qxt 7/11/16 9:01 AM Page 1
    07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 1 July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–31 David H. Koch Theater The National Ballet of Canada Karen Kain, Artistic Director The Winter’s Tale The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin Approximate running time: 2 hours and 35 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2016 presentation of The Winter’s Tale is made possible in part by generous support from The LuEsther T. Mertz Charitable Trust and Jennie and Richard DeScherer. Additional support is provided by The Joelson Foundation. Endowment support for the Lincoln Center Festival 2016 presentation of The Winter’s Tale is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. The National Ballet of Canada’s lead philanthropic support for The Winter’s Tale is provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., an anonymous friend of the National Ballet, and The Producers’ Circle. The National Ballet of Canada gratefully acknowledges the generous support of The Honourable Margaret Norrie McCain, C.C. A co-production of The National Ballet of Canada and The Royal Ballet 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 2 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S
    [Show full text]
  • Doug Wright Final Interior:Layout 1 11/11/08 12:44 PM Page 1
    doug_wright_final_interior:Layout 1 11/11/08 12:44 PM Page 1 doug_wright_final_interior:Layout 1 11/11/08 12:45 PM Page 2 doug_wright_final_interior:Layout 1 11/11/08 12:45 PM Page 3 doug_wright_final_interior:Layout 1 11/11/08 12:48 PM Page 12 FLYING OFFICER DOUGLAS AUSTIN WRIGHT (above) circa 1942 to 1945. SELF–PORTRAIT (opposite) circa late 1930s. doug_wright_final_interior:Layout 1 11/11/08 12:48 PM Page 13 doug_wright_final_interior:Layout 1 11/11/08 12:49 PM Page 16 THE VIEW FROM WRIGHT’S WINDOW 2005 MansTeld street, Apartment #10, Montreal, circa 1938–40. doug_wright_final_interior:Layout 1 11/11/08 12:49 PM Page 17 doug_wright_final_interior:Layout 1 11/11/08 12:51 PM Page 20 Qis large and very polished full page strip is quite likely part of a package of sample comics which Wright sent down to the U.S. syndicates in the early 1950s. doug_wright_final_interior:Layout 1 11/11/08 12:51 PM Page 21 Creator of the internationally syndicated comic strip { FOR BETTER OR FOR WORSE } hen the paper came, my dad was the ^rst to read the comics. He didn’t just read them, he studied them and encouraged me to do the same. He was particularly fond of comic art that had structure and substance and the kind of subtle wit that brought the reader into the gag the way a storyteller tells a tale. Len Norris of the Vancouver Sun was one of his favorites, Doug Wright was another. When the Star Weekly came, he would turn to Doug Wright’s Family and smile.
    [Show full text]
  • Annual Report
    Annual Report Canada Council for the Arts 2008/09 Kevin Lockau, work in progress, sand cast glass, forged steel, granite. Photo: Martin Lipman in progress, sand cast glass, forged work Lockau, Kevin Annual Report Canada Council for the Arts 2008/09 350 Albert Street 350, rue Albert Post Offi ce Box 1047 Case postale 1047 Ottawa, Ontario K1P 5V8 Ottawa (Ontario) K1P 5V8 1-800-263-5588 or 1-800 263-5588 ou 613-566-4414 613-566-4414 Fax: 613-566-4390 Téléc. : 613-566-4390 [email protected] [email protected] www.canadacouncil.ca www.conseildesarts.ca Design: Alejandro Contreras Printed in Canada ISBN: 0-88837-200-0 The 52nd Annual Report of the Canada Council for the Arts and supplementary information on grants, services and awards are available on the Council’s website. The Canada Council for the Arts is a federal Crown corporation created by an Act of Parliament in 1957 “to foster and promote the study and enjoyment of, and the production of works in, the arts.” The Council offers a broad range of grants (6,168 in 2008-09) and services to professional Canadian artists and arts organizations in music, theatre, writing and publishing, visual arts, dance, media arts and integrated arts. It further seeks to raise public awareness of the arts through its communications, research and arts promo- tion activities. The Council also awards prizes and fellowships every year to ap- proximately 200 artists and scholars. The Canadian Commission for UNESCO and the Public Lending Right Commission operate within the Council. The Canada Council Art Bank, which has some 17,300 works of contemporary Canadian art in its collection, rents to the public and private sectors.
    [Show full text]