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Mark Bovey Curriculum Vitae
Mark Bovey Curriculum Vitae Associate Professor (Printmaking), NSCAD University 5163 Duke St., Halifax NS, Canada, B3J 3J6 email: [email protected] website: www.markbovey.com OFFICE: 902 494 8209 CELL: 902 877 7697 Education 1997 B.ED. Queen’s University, Kingston, Ontario, Canada A.C.E. Artist in the Community Education Program 1992 M.V.A. Printmaking, University oF Alberta, Edmonton, Alberta, Canada 1989 B.F.A. Queen’s University, Kingston, Ontario, Canada Solo Exhibitions 2020 Conversations Through the Matrix, (Postponed) University of Belgrade, Belgrade, Serbia 2014 World Machine, AP Gallery, Calgary Alberta 2010 Restoring the Ledge, presented by Open Studio, Toronto Ontario “Contact” 2009 Photography Exhibition 2009 The Ledge Suite, SNAP (ARC), Edmonton Alberta 2004 Between States, SNAP Gallery (ARC), Edmonton, Alberta, Canada 2003 Mind Field, invited, Alternator (ARC), Kelowna British Columbia, Canada 2001 Mind Fields, Modern Fuel Parallel Gallery, Kingston Artists Association, Kingston Ontario, Canada Invitational Small Group, Juried National or International Exhibitions 2021 Prototype Special Exhibition of Canadian Contemporary Printmaking, Pages of the Skies for the exhibition Anthem: 15 Expressions of Canadian Identity, Canadian Language Museum, Toronto Ontario Curated by Elaine Gold, (invited) 2nd Ex. Library of Alexandrina Museum, postponed until 2022, Library oF Alexandrina Museum oF Art, Alexandria Egypt Okanagan Print Triennial, Vernon Public Art Gallery, Vernon BC (jury selection) 2020 3rd International Academic Printmaking Alliance (IAPA), Online Exhibition Symposium and (invited) Canadian Curator, Selected Artists were Emma Nishimura and Libby Hague “The Art of Staying Home”. Library oF Alexandrina Museum 23 September - 6 October 2020, (juried international ex.) Washed Over – Stone Lithography as Vessel for Resilience and Metaphor, Organizer participated and juror. -
OECD/IMHE Project Self Evaluation Report: Atlantic Canada, Canada
OECD/IMHE Project Supporting the Contribution of Higher Education Institutions to Regional Development Self Evaluation Report: Atlantic Canada, Canada Wade Locke (Memorial University), Elizabeth Beale (Atlantic Provinces Economic Council), Robert Greenwood (Harris Centre, Memorial University), Cyril Farrell (Atlantic Provinces Community College Consortium), Stephen Tomblin (Memorial University), Pierre-Marcel Dejardins (Université de Moncton), Frank Strain (Mount Allison University), and Godfrey Baldacchino (University of Prince Edward Island) December 2006 (Revised March 2007) ii Acknowledgements This self-evaluation report addresses the contribution of higher education institutions (HEIs) to the development of the Atlantic region of Canada. This study was undertaken following the decision of a broad group of partners in Atlantic Canada to join the OECD/IMHE project “Supporting the Contribution of Higher Education Institutions to Regional Development”. Atlantic Canada was one of the last regions, and the only North American region, to enter into this project. It is also one of the largest groups of partners to participate in this OECD project, with engagement from the federal government; four provincial governments, all with separate responsibility for higher education; 17 publicly funded universities; all colleges in the region; and a range of other partners in economic development. As such, it must be appreciated that this report represents a major undertaking in a very short period of time. A research process was put in place to facilitate the completion of this self-evaluation report. The process was multifaceted and consultative in nature, drawing on current data, direct input from HEIs and the perspectives of a broad array of stakeholders across the region. An extensive effort was undertaken to ensure that input was received from all key stakeholders, through surveys completed by HEIs, one-on-one interviews conducted with government officials and focus groups conducted in each province which included a high level of private sector participation. -
IN the NEWS Universities Are Enriching Their Communities, Provinces and the Atlantic Region with Research That Matters
ATLANTIC UNIVERSITIES: SERVING THE PUBLIC GOOD The Association of Atlantic Universities (AAU) is pleased to share recent news about how our 16 public universities support regional priorities of economic prosperity, innovation and social development. VOL. 4, ISSUE 3 03.24.2020 IN THE NEWS Universities are enriching their communities, provinces and the Atlantic region with Research That Matters. CENTRES OF DISCOVERY NSCAD brings unique perspective to World Biodiversity Forum highlighting the creative industries as crucial to determining a well-balanced and holistic approach to biodiversity protection and promotion News – NSCAD University, 25 February 2020 MSVU psychology professor studying the effects of cannabis on the brain’s ability to suppress unwanted/ unnecessary responses News – Mount Saint Vincent University, 27 February 2020 Collaboration between St. Francis Xavier University and Acadia University research groups aims to design a series of materials capable of improving the sustainability of water decontamination procedures News – The Maple League, 28 January 2020 New stroke drug with UPEI connection completes global Phase 3 clinical trial The Guardian, 05 March 2020 Potential solution to white nose syndrome in bats among projects at Saint Mary’s University research expo The Chronicle Herald, 06 March 2020 Trio of Dalhousie University researchers to study the severity of COVID-19, the role of public health policy and addressing the spread of misinformation CBC News – Nova Scotia, 09 March 2020 Memorial University researchers overwhelmingly agree with global scientific community that the impacts of climate change are wide-ranging, global in scope and unprecedented in scale The Gazette – Memorial University of Newfoundland, 12 March 2020 ECONOMIC DEVELOPMENT and SOCIAL WELL-BEING According to research from the University of New Brunswick N.B.’s immigrant retention rates are high during the first year and then 50% leave after 5 years CBC News – New Brunswick, 13 February 2020 Impact of gold mine contamination is N.S. -
Port of Halifax Harbour and Facilities Map (PDF)
i fax Se ap ort HALIFAX SEAPORT & OCEAN TERMINALS SOUTH END CONTAINER TERMINAL Operator: PSA Halifax ity Terminal Size: 76.5 acres / 31 hectares Reefer Outlets: 714 in-ground outlets X 480V 3PH Halifax Port Authority 60Hz 32Amps P Ha Administration Building lif Throughput Capacity : 500,000 TEU B ax B er S ert th ea h 2 Cargo Capacity: Container, Ro/Ro, Breakbulk & 20 po 2 LO rt Heavy-lift WE Pavilion 20 Pi A R W e e r AT r A Equipment: ER t • 5 Super Post Panamax (SPPX) Cranes: S P NSCAD University n 3 TR e 6 E C 2 2 ET h Port Campus d t d 10 high X 24 wide (1) r r 6 e B a e 2 h P . e n B h S i D Im rt u t e R h C r r 8 high X 23 wide (2) m 2 Canadian Museum of e A L ig 1 B -1 A ra k 7 t Immigration at Pier 21 c 7 High X 21wide (2) M N i 2 I W on O o M c D h e A k t R st n e c r E in n Pavilion 22 a 5 u 1 e 2 r e 3 3 P • 2 Ro/Ro ramps T N x n T B 3 i o T 4 h h e v M t t d r a A e 2 r r e B Sc F R B rm e e h e h o i G r S • 8,000 ft of on-dock, double-stack l I P t B B 3 ti m N t i h n r an AL a 8 3 R 2 l e 2 7 rail services (320 TEU) & O 2 h A s B h t 3 D t r h M r 0 e t e B S 3 r • No navigational/height restrictions e B e Pavilion 23 P h VIA d ie t B i r 9 a e r e 4 3 r A B 3 Railway C t 4 h e d 3 t n e r n 3 h Station P P e 6 h t e E t 2 S r B r C 2 6 e e d h d B 3 r t 6 e h Ro-Ro a r t I e 2 h P R r Ramp Ber n B h S i o-R e th 4 Pier B B u t e Ram o B 1 A r r M p Ga R P C A A ntry Cr P R e - RG ane 4 ier Berth Length Depth (Avg.) Apron Width IN B 1 INA C G L Ro GGannttry k 7 RO R -Ro Crane 3 T T c 2 A am B O o D p erth N GGannttry -
Memo to NSCAD Community and Students
March 4, 2019 MEMO TO: STUDENTS AND MEMBERS OF THE NSCAD COMMUNITY RE: ISSUE CLARIFICATION To students and members of the NSCAD community: I am writing to provide you with some information and clarification on a number of issues. The Board of Governors and administration understand how difficult this work stoppage is for members of our community. We sincerely hope that we can reach a timely resolution that is fair to our valued faculty and affordable for NSCAD. We understand that a university is much more than bricks and mortar. Our faculty and staff give life to the institution and we value their work and contributions tremendously. We have put forward a proposal that enhances the faculty’s total compensation package and addresses numerous issues raised by faculty, including teaching workload. Together, we have worked hard to put NSCAD back on the path to financial sustainability. We are a very small university and growing student enrollment is critical to our success. We have experienced modest enrollment growth – but we must continue to do so to keep up with rising costs, invest in critical infrastructure, and keep tuition fees in check. Below, you will find some important clarifications to issues being raised in this labour disruption. I encourage you to ask us questions and to stay informed. Please visit our labour website for updates https://navigator.nscad.ca/labour/. You may also submit questions directly to [email protected]. Please know that we are all hoping for a timely resolution. Sincere regards, Prof. Dianne Taylor-Gearing, FRSA President, NSCAD University 1 - 2 - Issues for Clarification: We have heard that NSCAD has not meaningfully participated in the collective bargaining process. -
Catalogue (Pdf)
MONICA TAP the pace of days INTRODUCTION following spread ONE-SECOND HUDSON NO. 2B (detail) THROUGH PAINTINGS that engage tropes of both representation and The current exhibition features the pace of days, Tap’s newest and largest abstraction, Monica Tap systematically investigates time: the passage of time, series composed of 36 pairs of paintings in which she mapped the landscape how it is measured, and our understanding of it in the digital age. She does so along the ancient pilgrim route known as the Camino Francés. In 2012/13, Tap by addressing the landscape with a contemporary eye. the pace of days, Tap’s trekked the 800-kilometre journey from France to Santiago de Compostela solo exhibition at the Macdonald Stewart Art Centre (Guelph) from January 23 in Spain, setting a conceptual framework through which to document her to April 6, 2014, featured a series of vibrant new paintings, as well as selected experience. Tap stopped every hour to take a single photographic frame of works from the last 15 years of her practice. the road travelled and the road ahead, locating herself in a time and place This time period is significant in that it marks the anniversary of Tap’s first between the images she captured on camera and those that she would later exhibition in Guelph. Contingency and Continuity: Negotiating New Abstraction, translate in paint on paper. 4 5 curated by senior abstractionist Ron Shuebrook, brought together paintings Monica Tap: the pace of days was curated by Dawn Owen for the by Jordan Broadworth, Cora Cluett, Gina Rorai, Monica Tap, Denyse Thomasos, Macdonald Stewart Art Centre. -
Does Accreditation Matter for Art & Design Schools in Canada?
College Quarterly Winter 2013 - Volume 16 Number 1 (../index.html) Does Accreditation Matter for Art & Design Schools in Canada? Home By Reiko (Leiko) Shimizu (../index.html) Studio-based degrees in fine arts and design are not often written Contents about in higher education literature. Perhaps it is because art and design (index.html) education is misunderstood – students are viewed as “finding themselves” or have unrealistic dreams of becoming the next big artist. Perhaps the studio-based nature of the curriculum does not intrigue researchers to write about issues that concern it, or perhaps it is because anyone can call themself an artist without having an academic credential. Ten years ago, urban theorist Richard Florida coined the term the “creative class” as individuals who “do a wide variety of work in a wide variety of industries – from technology to entertainment, journalism to finance, high- end manufacturing to the arts….they share a common ethos that values creativity, individuality, difference, and merit” (Florida, 2002, para. 8). According to Florida the creative class helps build economic development; therefore, our cities should be nurtured to be more inviting to these types of individuals. This emphasis on culture and creativity is at the foundation of art and design education. Groys (2009) argues that art education is complicated and subjective; it ultimately has no rules and that “teaching art means teaching life” (as cited in Madoff, 2009, p. 27). If that is the case, how does one measure quality in a field that is viewed as so subjective? How does one define and value art and design education? One’s notion of good art and design can be vastly different from another’s, and both views may come from experts in the field. -
Sydney College of the Arts Visual Arts Handbook 2009
Sydney College of the Arts visual arts handbook 2009 Set a course for Handbooks online: www.usyd.edu.au/handbooks Acknowledgements Acknowledgements The Arms of the University Sidere mens eadem mutato Though the constellation may change the spirit remains the same Copyright Disclaimers This work is copyright. No material anywhere in this work may be 1. The material in this handbook may contain references to persons copied, reproduced or further disseminated ± unless for private use who are deceased. or study ± without the express and written permission of the legal 2. The information in this handbook was as accurate as possible at holder of that copyright. The information in this handbook is not to be the time of printing. The University reserves the right to make used for commercial purposes. changes to the information in this handbook, including prerequisites for units of study, as appropriate. Students should Official course information check with faculties for current, detailed information regarding Faculty handbooks and their respective online updates along with the units of study. University of Sydney Calendar form the official legal source of Price information relating to study at the University of Sydney. Please refer to the following websites: The price of this handbook can be found on the back cover and is in www.usyd.edu.au/handbooks Australian dollars. The price includes GST. www.usyd.edu.au/calendar Handbook purchases Amendments You can purchase handbooks at the Student Centre, or online at All authorised amendments to this -
UAAC Annual Conference/ Congrès Annuel De L'aauc York University
1 UAAC Annual Conference/ Congrès Annuel de l’AAUC York University November 6-8 novembre, 2008 FRIDAY, 9:00-10:30 1. What is (or was) Glamour? Session Chair: Michael Windover, Ph.D candidate, University of British Columbia Location: South Salon, University Women’s Club, 162 St. George St. Rhodri Windsor-Liscombe, University of British Columbia ‘The Repository of Glamour’: Ackerman, Nash and Visual Enticement in Regency design Alla Myzelev, SSHRC Post-Doctoral Fellow, University of Western Ontario Local Glamour, Private Show: Exploring Art and Life of Frederic and Louise Coates Michael Windover, Ph.D candidate, University of British Columbia Page Miss Glory: A Consideration of Glamour as Public Culture in Interwar L.A. 2. Envisioning Animal Subjects Session Chair: Matthew Brower, York University Location: Dining Room, University Women’s Club, 162 St. George St. Corinna Ghaznavi, Ph.D candidate, University of Western Ontario Looking Back: The Animal Subject in Contemporary Art Bill Burns, Artist Dogs and Boats and Airplane Matthew Brower, University of Victoria Why Look at Beavers? Marielle Aylen, University of Western Ontario Animal Love: the Place of the Animal in Aesthetics and Artistic Practice 3. Neuroaesthetics Session Co-chairs: Jennifer Fisher, York University, and Sally McKay, York University Location: Grand Salon, University Women’s Club, 162 St. George St. Robin Curtis, Freie Universität Berlin, Collaborative Research Centre Expanded Empathy, Theodor Lips and "Einfühlung ” Tabitha Minns, The Banff Centre Curatorial Institute Embodied Perceptions: Neuroaesthetics and Dynamic Systems in the Work of David Rokeby Sally McKay, York University The Loveable Brain: Neuroaesthetics in the Art of Rebecca Diederichs and Angela Leach Jennifer Fisher, York University The Volitional Breath: Haptic Aesthetics in the Navigation of Char Davies Immersive Art 4. -
Centre for Art Tapes Fonds (MS-3-46)
Dalhousie University Archives Finding Aid - Centre for Art Tapes fonds (MS-3-46) Generated by the Archives Catalogue and Online Collections on January 24, 2017 Dalhousie University Archives 6225 University Avenue, 5th Floor, Killam Memorial Library Halifax Nova Scotia Canada B3H 4R2 Telephone: 902-494-3615 Email: [email protected] http://dal.ca/archives http://findingaids.library.dal.ca/centre-for-art-tapes-1 Centre for Art Tapes fonds Table of contents Summary information ...................................................................................................................................... 5 Administrative history / Biographical sketch .................................................................................................. 5 Scope and content ........................................................................................................................................... 6 Notes ................................................................................................................................................................ 6 Access points ................................................................................................................................................... 7 Collection holdings .......................................................................................................................................... 7 Organization ................................................................................................................................................. -
2018-Monica Tap CV.Pdf
M O N I C A T A P [email protected] / www.monicatap.com Selected solo and two-person exhibitions 2018 Arrangement, Peter Robertson Gallery, Edmonton, AB 2016 Green Thumb. MKG127, Toronto, ON. 2015 Through and Through. Peter Robertson Gallery. Edmonton, AB. 2014 Teufelsmoor and other haunts. Gallery Stratford. Stratford, ON. 2014 Paseo. MKG127. Toronto, ON. 2014 the pace of days. MacDonald Stewart Art Centre. Guelph, ON. 2013 New work. MKG127 (front gallery). Toronto, ON. 2012 Road work. String Gallery, Wells College. Aurora, New York. 2012 Six ways from Sunday. Wynick Tuck Gallery, Toronto, ON 2011 Another Roadside Abstraction: David Garneau and Monica Tap. Dunlop Art Gallery, Regina. 2011 Monica Tap: Study Notes. Wynick Tuck Gallery, Toronto. South gallery. 2011 Road Trip. Peter Robertson Gallery, Edmonton, Alberta. 2010 Sequence and Passage: Mara Korkola and Monica Tap, Cambridge Art Galleries, Cambridge 2010 Here and also elsewhere: New Paintings, Wynick Tuck Gallery, Toronto, ON 2009 Unnatural: Michel Daigneault and Monica Tap. Rodman Hall, St Catherine’s, ON 2008 Monica Tap: Split Seconds. Windsor Art Gallery, Windsor, ON 2008 Views from the Train: One-second Hudson and other works. McLaren Art Centre, Barrie, ON 2008 The Passing Landscape. Art Gallery of Sudbury, Sudbury, ON. 2007 Séance, Margaret Thatcher Projects, New York, NY 2007 One-second Hudson, Wynick Tuck Gallery, Toronto, ON 2007 Grand River Chronicles: Séance. Kitchener Waterloo Art Gallery, Kitchener, ON. 2005 (2003, 2000, 1998) Wynick Tuck Gallery, Toronto, ON. 2005 Over here/ over there. Open Studio Gallery, Toronto, ON. 2005 Paintings. Southern Alberta Art Gallery, Lethbridge, AB. 2002 Further, Tom Thompson Memorial Art Gallery. -
Curriculum Vitae Monica
Curriculum Vitae Monica Tap I. General Information A. Education 1996 MFA Nova Scotia College of Art and Design 1990 BFA Nova Scotia College of Art and Design (attended 1982-84, 1989-90) Alberta College of Art (attended W86) University of Alberta (attended F85) B. Academic Appointments at the University of Guelph 2005-06 Study Leave 2005 Associate Professor 2003 Tenure 1999 Assistant Professor C. Academic Appointments/ Related Experience prior to Appointment at the University of Guelph 1998-99 Adjunct Professor , Nova Scotia College of Art and Design 1996-98 Sessional Instructor, Nova Scotia College of Art and Design 1992-94 Director, Visual Art Programs, Misericordia Hospital, Edmonton, AB 1990-92 Art Program Officer, Alberta Foundation for the Arts, Edmonton, AB 1986-89 Visual Arts Coordinator, Curator, City of St.Albert, AB D. Awards, Honours, Grants 2008 Banff Centre for the Arts, “Artist in a Mountain Landscape’, $2700 2005-2009 Social Sciences and Humanities Research Council Research/ Creation Grant in Fine Art“Translation as a Strategy of Renewal in Painting”, $127,090 2005 Warren Goldring Scholarship, Banff, Optic Nerve Residency, $2100 2005 Open Studio Print Residency, Toronto, Ontario, $1500 2004 Dean's Council Research Grant, “Kunst en Complex, Rotterdam” $5000 2003 Canada Council for the Arts, mid-career production grant, $14,000 2003 Instructional Development Grant, Teaching Support Services, Foundations in Art, Theory and Education conference, $607 2003 Dean's Council Research Grant, “Old technology and new: historical drawings and digital media” , $5000 2002 Banff Centre for the Arts, “New Works”, $1100 2002 Dean's Council Research Grant, “New Works” (Banff), $4600 2001 S.S.H.R.C.