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The Mclaughlin Daughters
Parkwood National Historic Site The McLaughlin Daughters Over the course of their lifetime together Sam and Adelaide had the pleasure and good fortune to raise five daughters. Please meet their children – Eileen, Mildred, Isabel, Hilda and Eleanor (affectionately called Billie) Eileen (born Mary Eileen) was born in 1898 and was an avid golfer, equestrian champion and dog lover. Her horse equestrian skills saw Eileen compete throughout Canada and the United States, including at the Chicago World’s Fair. Between 1924 and 1933, Eileen participated in sixty-five exhibitions and competitions. During her first marriage (1918 to 1945) Eileen and her family resided at Adelaide House, now used as the YWCA Durham, in Oshawa. During and after her second marriage, Eileen spent most of the year at her home in British Columbia, raising “Scottie dogs”. Mildred was born in 1900 and through her late teens and early twenties, Mildred attended many teas, dances, art exhibitions, theatre performances, etc. Mildred also enjoyed throwing lavish parties and performances at Parkwood. Together with her first husband, Cord Taylor they moved to the United States in the mid -1920s. Raising her family in America, Mildred returned to Parkwood for numerous visits, especially with her young children. After her second marriage, Mildred, spent her final days in Coral Gables, Florida. Parkwood National Historic Site The McLaughlin Daughters Isabel studied art at the Ontario College of Art from 1926–1930 under Group of 7 member, Arthur Lismer and Yvonne McKague Housser. With a strong love of art, she studied in Paris 1929, Vienna in 1930 and with Hans Hofmann ca. -
Difficulty in the Origins of the Canadian Avant-Garde Film
CODES OF THE NORTH: DIFFICULTY IN THE ORIGINS OF THE CANADIAN AVANT-GARDE FILM by Stephen Broomer Master of Arts, York University, Toronto, Canada, 2008 Bachelor of Fine Arts, York University, Toronto, Canada, 2006 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program in Communication and Culture Toronto, Ontario, Canada, 2015 © Stephen Broomer, 2015 Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film Stephen Broomer Doctor of Philosophy in Communication and Culture, 2015 Ryerson University and York University Abstract This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty. -
Marian Penner Bancroft Rca Studies 1965
MARIAN PENNER BANCROFT RCA STUDIES 1965-67 UNIVERSITY OF BRITISH COLUMBIA, Arts & Science 1967-69 THE VANCOUVER SCHOOL OF ART (Emily Carr University of Art + Design) 1970-71 RYERSON POLYTECHNICAL UNIVERSITY, Toronto, Advanced Graduate Diploma 1989 SIMON FRASER UNIVERSITY, Visual Arts Summer Intensive with Mary Kelly 1990 VANCOUVER ART GALLERY, short course with Griselda Pollock SOLO EXHIBITIONS 2019 REPUBLIC GALLERY, Vancouver, upcoming in May 2019 WINDWEAVEWAVE, Burnaby, BC, video installation, upcoming in May 2018 HIGASHIKAWA INTERNATIONAL PHOTOGRAPHY FESTIVAL GALLERY, Higashikawa, Hokkaido, Japan, Overseas Photography Award exhibition, Aki Kusumoto, curator 2017 REPUBLIC GALLERY, Vancouver, RADIAL SYSTEMS photos, text and video installation 2014 THE REACH GALLERY & MUSEUM, Abbotsford, BC, By Land & Sea (prospect & refuge) 2013 REPUBLIC GALLERY, Vancouver, HYDROLOGIC: drawing up the clouds, photos, video and soundtape installation 2012 VANCOUVER ART GALLERY, SPIRITLANDS t/Here, Grant Arnold, curator 2009 REPUBLIC GALLERY, Vancouver, CHORUS, photos, video, text, sound 2008 REPUBLIC GALLERY, Vancouver, HUMAN NATURE: Alberta, Friesland, Suffolk, photos, text installation 2001 CATRIONA JEFFRIES GALLERY, Vancouver THE MENDEL GALLERY, Saskatoon SOUTHERN ALBERTA ART GALLERY, Lethbridge, Alberta, By Land and Sea (prospect and refuge) 2000 GALERIE DE L'UQAM, Montreal, By Land and Sea (prospect and refuge) CATRIONA JEFFRIES GALLERY, Vancouver, VISIT 1999 PRESENTATION HOUSE GALLERY, North Vancouver, By Land and Sea (prospect and refuge) UNIVERSITY -
Kenneth Noland
! KENNETH NOLAND BIOGRAPHY Born in 1924 in Asheville, North Carolina US Died in 2010 in Port Clyde, Maine US EDUCATION & TEACHING 1985-90 Serves on the Board of Trustees, Bennington College, Bennington Vermont US 1985 Named Milton Avery Professor of the Arts, Bard College, Annandale-on-Hudson, New York US 1952-56 Taught at the Washington Workshop Center for the Arts US 1951-60 Taught at the Catholic University of America, Washington D.C. US 1949-51 Taught at the Institute of Contemporary Art, Washington D.C. US 1948-49 Studies with Ossip Zadkine in Paris FR 1946-48 Studies at Black Mountain College, North Carolina US SELECTED SOLO EXHIBITIONS 2019 Kenneth Noland, Almine Rech, Paris FR 2017 Kenneth Noland: Cicles - Early + Late, Yares Art, New York US Kenneth Noland, Pace Prints, New York US Kenneth Noland: Into the Cool, Pace Gallery, New York US 2016 Kenneth Noland: Unbalanced, Paul Kasmin Gallery, New York US 2015 Kenneth Noland: Color and Shape 1976–1980, Castelli, New York US Kenneth Noland: selected Works 1958-1980, Cardi Gallery, Milan IT ! ! ! 2014 Kenneth Noland: Handmade Paper and Monoprints 1978-1984, Meredith Long & Company, Houston US Kenneth Noland: Paintings 1975-2003, Pace Gallery, New York US 2012 Kenneth Noland: Mysteries, Full Circle, Yares Art Projects, Santa Fe US 2011 Kenneth Noland: Paintings 1958-1968, Mitchell-Innes & Nash, New York US 2010 Kenneth Noland, 1924-2010: A Tribute, Solomon R. Guggenheim Museum, New York US Kenneth Noland: A Tribute, Museum of Fine Arts, Houston US 2009 Kenneth Noland: Shaped Paintings -
[Carr – Bibliography]
Bibliography Steven C. McNeil, with contributions by Lynn Brockington Abell, Walter, “Some Canadian Moderns,” Magazine of Art 30, no. 7 (July 1937): 422–27. Abell, Walter, “New Books on Art Reviewed by the Editors, Klee Wyck by Emily Carr,” Maritime Art 2, no. 4 (Apr.–May 1942): 137. Abell, Walter, “Canadian Aspirations in Painting,” Culture 33, no. 2 (June 1942): 172–82. Abell, Walter, “East Is West – Thoughts on the Unity and Meaning of Contemporary Art,” Canadian Art 11, no. 2 (Winter 1954): 44–51, 73. Ackerman, Marianne, “Unexpurgated Emily,” Globe and Mail (Toronto), 16 Aug. 2003. Adams, James, “Emily Carr Painting Is Sold for $240,000,” Globe and Mail (Toronto), 28 Nov. 2003. Adams, John, “…but Near Carr’s House Is Easy Street,” Islander, supplement to the Times- Colonist (Victoria), 7 June 1992. Adams, John, “Emily Walked Familiar Routes,” Islander, supplement to the Times-Colonist (Victoria), 26 Oct. 1993. Adams, John, “Visions of Sugar Plums,” Times-Colonist (Victoria), 10 Dec. 1995. Adams, Sharon, “Memories of Emily, an Embittered Artist,” Edmonton Journal, 27 July 1973. Adams, Timothy Dow, “‘Painting Above Paint’: Telling Li(v)es in Emily Carr’s Literary Self- Portraits,” Journal of Canadian Studies 27, no. 2 (Summer 1992): 37–48. Adeney, Jeanne, “The Galleries in January,” Canadian Bookman 10, no. 1 (Jan. 1928): 5–7. Art Gallery of Greater Victoria, Oil Paintings from the Emily Carr Trust Collection (ex. cat.). Victoria: Art Gallery of Greater Victoria, 1958. Art Gallery of Ontario, Emily Carr: Selected Works from the Collection of the Vancouver Art Gallery (ex. cat.). Toronto: Art Gallery of Ontario, 1974. -
26727 Consignor Auction Catalogue Template
Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation. -
Post-War & Contemporary
post-wAr & contemporAry Art Sale Wednesday, november 21, 2018 · 4 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, November 21, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Calgary 888 4th Avenue SW, Unit 609 Friday, October 19 through Saturday, October 20, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 27 through Tuesday, October 30, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, November 8 through Saturday, November 10, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, November 17 through Tuesday, November 20, 10 am to 6 pm Wednesday, November 21, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-8884 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. -
A Finding Aid to the Clement Greenberg Papers, 1937-1983, in the Archives of American Art
A Finding Aid to the Clement Greenberg Papers, 1937-1983, in the Archives of American Art Jayna Hanson Funding for the processing of this collection was provided by the Terra Foundation for American Art March 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Information, circa 1950s-1983.............................................. 5 Series 2: Business and Financial Records, 1948-1983........................................... 6 Series 3: Correspondence, 1937-1983................................................................... -
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. -
Marianne Boesky Gallery Frank Stella
MARIANNE BOESKY GALLERY NEW YORK | ASPEN FRANK STELLA BIOGRAPHY 1936 Born in Malden, MA Lives and works in New York, NY EDUCATION 1950 – 1954 Phillips Academy (studied painting under Patrick Morgan), Andover, MA 1954 – 1958 Princeton University (studied History and Art History under Stephen Greene and William Seitz), Princeton, NJ SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Brussels, Belgium, Charles Riva Collection, Frank Stella & Josh Sperling, curated by Matt Black September 8 – November 20, 2021 [two-person exhibition] 2020 Ridgefield, CT, Aldrich Contemporary Art Museum, Frank Stella’s Stars, A Survey, September 21, 2020 – September 6, 2021 Tampa, FL, Tampa Museum of Art, Frank Stella: What You See, April 2 – September 27, 2020 Tampa, FL, Tampa Museum of Art, Frank Stella: Illustrations After El Lissitzky’s Had Gadya, April 2 – September 27, 2020 Stockholm, Sweeden, Wetterling Gallery, Frank Stella, March 19 – August 22, 2020 2019 Los Angeles, CA, Los Angeles County Museum of Art, Frank Stella: Selection from the Permanent Collection, May 5 – September 15, 2019 New York, NY, Marianne Boesky Gallery, Frank Stella: Recent Work, April 25 – June 22, 2019 Eindhoven, The Netherlands, Van Abbemuseum, Tracking Frank Stella: Registering viewing profiles with eye-tracking, February 9 – April 7, 2019 2018 Tuttlingen, Germany, Galerie der Stadt Tuttlingen, FRANK STELLA – Abstract Narration, October 6 – November 25, 2018 Los Angeles, CA, Sprüth Magers, Frank Stella: Recent Work, September 14 – October 26, 2018 Princeton, NJ, Princeton University -
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. -
BRENDAN FERNANDES B
BRENDAN FERNANDES b. 1979, Nairobi, Kenya lives and works in Chicago, IL Education 2006 – 2007 Whitney Museum oF American Art, Independent Study Program, New York, NY 2003 – 2005 The University oF Western Ontario, Master’s of Fine Arts in Visual Arts, London, ON 1998 – 2002 York University, Honors, Bachelor oF Fine Arts in Visual Arts, Toronto, ON Selected Solo Exhibitions 2021 Inaction…The Richmond Art Gallery. Richmond, BC In Pose. The Art Gallery in Ontario. Toronto, ON 2020 Art By Snapchat. Azienda SpecialePalaexpo. Rome, Italy. Brendan Fernandes: Bodily Forms, Chrysler Art Museum We Want a We, Pearlstein Gallery, Drexel University, Philadelphia, PA In Action. Tarble Art Center, Eastern Illinos University, Charleston, IL 2019 Restrain, moniquemeloche, Chicago, IL In Action, Zilkha Gallery, Wesleyan University, Middletown, CT (will travel to Tarble Arts Center, Eastern Illinois University, Charleston, IL, 2020) Contract and Release, The Noguchi Museum, Long Island City, NY Call and Response, Museum oF Contemporary Art, Chicago, IL (perFormance series) Free Fall. The Richmond Art Gallery. Richmond, BC Free Fall 49. The Smithsonian American Art Museum. Washington, DC Ballet Kink. The Guggenheim Museum. New York, NY 2018 The Living Mask, DePaul University Art Museum, Chicago, IL On Flashing Lights, Nuit Blanche, Toronto, ON (performance) Open Encounter, The High Line, New York, NY (perFormance) The Master and Form, The Graham Foundation, Chicago, IL To Find a Forest, Art Gallery oF Greater Victoria, Victoria, BC (perFormance) SaFely (Sanctuary). FOR-SITE Foundation. San Francisco, CA 2017 Art by Snapchat, Museum of Contemporary Art, Chicago, IL (performance) Move in Place, Anna Leonowens Gallery, NSCAD University, Halifax, NS Free Fall 49, The Getty, Los Angeles, CA (performance) From Hiz Hands, The Front, Eleven Twenty Projects, BuFFalo, NY I’M DOWN, 18th Street Arts Center, Santa Monica, CA Clean Labor, curated by Eric Shiner, Armory Fair, New York, NY (performance) Lost Bodies.