Curriculum Vitae
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A Voice of English-Montreal the First Twenty Years of Véhicule Press
A Voice of English-Montreal The First Twenty Years of Véhicule Press, 1973–1993 Amy Hemond Department of English McGill University, Montreal April 2019 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts © Amy Hemond 2019 Hemond ii Table of Contents Abstract ................................................................................................................................................................ iii Résumé ................................................................................................................................................................. iv Acknowledgements ............................................................................................................................................... v Introduction ........................................................................................................................................................... 6 The Véhicule fonds .................................................................................................................................................. 13 The History of English-Quebec Publishing ............................................................................................................... 16 Discussion ................................................................................................................................................................ 26 Chapter 1: The Poetic Prelude to a Small Press, 1972–1976 ................................................................................ -
L'esprit De L'escalier
A KOFFLER.DIGITAL PUBLICATION l’esprit de l’escalier l’esprit de l’escalier L’esprit de l’escalier A Koffler.Digital Publication Editor: Letticia Cosbert © Koffler Centre of the Arts, 2018 In collaboration with the individual contributors Digital publication to the audio installation CCC: L’esprit de l’escalier January 18 to March 18, 2018 Curator: Letticia Cosbert North and south stairwells, Artscape Youngplace, Toronto Commissioned by Koffler.Digital Developed in conjunction with the Koffler Gallery exhibition Nicole Collins: Furthest Boundless January 18 to March 18, 2018 Curator: Mona Filip Publication Design: Tony Hewer Koffler Centre of the Arts/Koffler Gallery 180 Shaw Street, Suite 104-105, Toronto, Ontario, Canada, M6J 2W5 L’esprit de l’escalier 1 L’esprit de l’escalier by Letticia Cosbert 3 It’s Just Life by Dainesha Nugent-Palanche 7 The Simulacrum Precedes the Original by Anya Moryoussef 9 11:11 by Nicole Collins 15 On Death by Patricia Ritacca 19 The People You Love by Mona Filip 21 Death Cleaning: Letticia Cosbert in conversation with C. Jonasson 28 Other Lives by CCC 31 “The Storyteller Borrows his Authority from Death” by Eric Beck Rubin 33 Deaths / Memorials / Births by Erika Defreitas 39 Crescent Notes by Aaditya Aggarwal 43 Contributor biographies, image credits l’esprit de l’escalier by LETTICIA COSBERT 1 “What is there possibly left for us to be afraid of, after we have dealt face to face with death and not embraced it? Once I accept the existence of dying as a life process, who can ever have power over me again?” – Audre Lorde, The Cancer Journals I am terrified of death, of dying and of losing my body. -
Grants Listing 2017-2018
2017–2018 Grants Listing | Liste des subventions Ontario Arts Council Conseil des arts de l’Ontario OAC | CAO The Guelph Chamber Choir surprises founding conductor Gerald Neufeld with a favourite song following his final official concert performance. Neufeld retired after 35 years of serving as artistic director of the choir. (Photo: Sandra Pitts) Les membres du Chœur de chambre de Guelph réservent une surprise à Gerald Neufeld à l’occasion de son départ à la retraite en chantant une de ses chansons préférées après son dernier concert officiel. M. Neufeld, chef fondateur de l’ensemble, en a été le directeur artistique pendant 35 ans. (Photo : Sandra Pitts) FRONT COVER : Élise Boucher DeGonzague performs in Mokatek et l’étoile disparue (Mokatek and the missing star), a co-production between Vox Théâtre and Productions Ondinnok, written and performed by Dave Jenniss, directed by Pier Rodier. (Photo: Marianne Duval) PREMIÈRE DE COUVERTURE : Élise Boucher DeGonzague dans Mokatek et l’étoile disparue, pièce coproduite par Vox Théâtre et les Productions Ondinnok, écrite et interprétée par Dave Jenniss sur une mise en scène de Pier Rodier. (Photo : Marianne Duval) 2017-2018 Grants Listing | Liste des subventions 2017-2018 OAC | CAO Contents Sommaire Grants Listing – Introduction 03 Introduction – Liste des subventions Granting Staff 05 Personnel de subvention Creating and Presenting 08 Création et diffusion Dance 09 Danse Deaf and Disability Arts 11 Pratiques des artistes sourds ou handicapés Francophone Arts 13 Arts francophones Indigenous -
ROSALIE FAVELL | Www
ROSALIE FAVELL www.rosaliefavell.com | www.wrappedinculture.ca EDUCATION PhD (ABD) Cultural Mediations, Institute for Comparative Studies in Art, Literature and Culture, Carleton University, Ottawa, Ontario, Canada (2005 to 2009) Master of Fine Arts, University of New Mexico, Albuquerque, New Mexico, United States (1998) Bachelor of Applied Arts in Photographic Arts, Ryerson Polytechnical Institute, Toronto, Ontario, Canada (1984) SELECTED SOLO EXHIBITIONS 2018 Rosalie Favell: Shifting Focus, Latcham Art Centre, Stoufville, Ontario, Canada. (October 20 – December 8) 2018 Facing the Camera, Station Art Centre, Whitby, Ontario, Canada. (June 2 – July 8) 2017 Wish You Were Here, Ojibwe Cultural Foundation, M’Chigeeng, Ontario, Canada. (May 25 – August 7) 2016 from an early age revisited (1994, 2016), Wanuskewin Heritage Park, Regina, Saskatoon, Saskatchewan, Canada. (July – September) 2015 Rosalie Favell: (Re)Facing the Camera, MacKenzie Art Gallery, Regina, Saskatchewan, Canada. (August 29 – November 22) 2014 Rosalie Favell: Relations, All My Relations, Minneapolis, Minnesota, United States. (December 12 – February 20, 2015) 2013 Muse as Memory: the Art of Rosalie Favell, Gallery of the College of Staten Island, New York City, New York, United States. (November 14 – December 19) 2013 Facing the Camera: Santa Fe Suite, Museum of Contemporary Native Art, Santa Fe, New Mexico, United States. (May 25 – July 31) 2013 Rosalie Favell, Cube Gallery, Ottawa, Ontario, Canada. (April 2 – May 5) 2013 Wish You Were Here, Art Gallery of Algoma, Sault Ste. Marie, Ontario, Canada. (February 28 – May 26) 2012 Rosalie Favell Karsh Award Exhibition, Karsh Masson Gallery, Ottawa, Ontario, Canada. (September 7 – October 28) 2011 Rosalie Favell: Living Evidence, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada. -
Erika Defreitas
! ERIKA DEFREITAS www.erikadefreitas.com EDUCATION M.V.S., University of Toronto, 2008 B.Ed., York University, Toronto, 2004 H.B.A., Art History and Studio, University of Toronto, 2003 AWARDS AND GRANTS 2017 Sobey Art Award, Long List 2016 John Hartman Award, MacLaren Art Centre Canada Council for the Arts, Travel Grant Toronto Arts Council, Visual Artists Grant Toronto Friends of Visual Arts, Award Finalist Ontario Arts Council, Exhibition Assistance Grant 2015 Canada Council for the Arts, Visual Arts Travel Grant Ontario Arts Council, Emerging Artist Grant 2014 Ontario Arts Council, Exhibition Assistance Grant 2013 Canada Council for the Arts, Visual Arts Travel Grant Ontario Arts Council, Exhibition Assistance Grant 2010 Ontario Arts Council, Exhibition Assistance Grant 2008 Ontario Arts Council, Exhibition Assistance Grant Canada Council for the Arts, Visual Arts Travel Grant 2006 Fellowship, University of Toronto Canada Council for the Arts, Inter-Arts Travel Grant SOLO EXHIBITIONS 2017 Impossible Gardens, Angell Gallery, Toronto, ON. like a conjuring (bringing water back to Bradley), The Anchorage Bradley Museums, Mississauga, ON. 2016 ; it was in the air, as they say., Gallery 44, Toronto, ON. (Vitrines) 2015 The Work of Mourning, Art Gallery of Mississauga, Mississauga, ON. 2013 Deaths/Memorials/Births, Centre3 for Print and Media Arts, Hamilton, ON. 2009 In The Bedroom Series, Gallery 44, Toronto, ON. (Vitrines) 2008 Deaths/Memorials/Births, Platform Centre for Photographic + Digital Arts, Winnipeg, MB. 2005 The Snapshot Chronicles, CWSE, OISE/University of Toronto, Toronto, ON. GROUP EXHIBITIONS (Two-person exhibitions *) 2017 The Sustenance Rite, Blackwood Gallery, Mississauga, ON. (upcoming) Migrating the Margins, Art Gallery of York University, Toronto, ON. -
Toronto Arts Council Report 2019 Annual Allocations Report
Attachment 1 EC15.1 REPORT TO ECONOMIC AND COMMUNITY DEVELOPMENT COMMITTEE 2019 TABLE OF CONTENTS Introduction and Grants Impact ......................................................................................................... 3 Equity Framework……………………………………………………………………………………………5 Grants Programs Overview…………………………………………………………………………………6 Strategic Funding .................................................................................................................. 7 Arts Discipline Funding ......................................................................................................... 7 Assessment and Allocations Process ................................................................................... 8 Loan Fund ............................................................................................................................. 9 2019 Allocations Summary ................................................................................................................ 10 Income Statement & Program Balances for the year ended December 31, 2019............................. 11 Strategic Funding 2019 Partnership Programs .......................................................................................................... 12 Strategic Partnerships ........................................................................................................... 13 Strategic Allocations .............................................................................................................. 15 Recipient -
Council. ASKS VOICE on 80ARD
~;:~:~i'"'' ~). -.-:::::.::=?: ~,,' ~ ,"- '--~! 1L9· ~ ~ COUNCIl. ASKS VOICE ON 80ARD-SENATE Murray Coolican The Student Council, at a lengthy meeting students. Before going through the report elections. Monday night, approyed the brief on 'Student section by section, Rick stated that univer Speaking of elections, PreSident Jim we~- . Participation in the Government of York sity should not be a 'degree-mill' but a corned 'the first year reps to the railroad' 0 University'• . community of scholars. Students and facul The publications Commission tabled its The report recommended: «i) that the spe ty, he said, are the major components of a report based on the meeting held last Wed cial jointSenate-BoardCommittee discussing university, and therefore the students have a nesday to inquire into Pro-Tern (see below). the university government be' expanded to right to participate in the university govern President Jim reported that the Advisory included several student representatives, ment. In closing, Rick emphasised that (Our Committee on Student Affairs will begin il) that students have direct representation aim is not to get power, but to make York meetings next week. Despite the fact that on the Board of Governors and'on pertinent a better institution, if possible'• there will be only one member from each Board committees. lii) that students have There was no major opposition to the Student Council at York, Jirn felt that a direct representation on the Senate and on principles stated in the brief. A few council member of the Glendon Council shouldattend pertinent Senate committees, iv) that stu members, however, felt that the report was to help with the groundwork. -
Victor Coleman
IVH An AlphAmAth SeriAl Victor ColemAn B ookt hug 2012 first edition copyright © 2012, Victor Coleman All rights reserved. no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without permission in writing from the publisher. the production of this book was made possible through the generous assistance of the Canada Council for the Arts and the ontario Arts Council. the author thanks the toronto Arts Council for time to write. thanks to Michael Boughn and david Peter Clark for critiques and response. LiBrAry And ArChiVes CAnAdA CAtALoguing in PuBLiCAtion Coleman, Victor, 1944- ivh : an alphamath serial / Victor Coleman. Poems. Also issued in electronic format. isBn 978-1-927040-36-2 i. title. Ps8505.o455i95 2012 C811’.54 C2012-905405-4 Printed in CAnAdA A bouquet of According to the measurement the scattered sea waves enthus- easy release of its thanks means seized by sudden sure arrival – outbursts of blunt takes it all in tragic echoes. to the fair girl. Quick excessive Disasters could measure remains not answer what an army of one drawn by its want you to see the length of the less than one day’s maritime wind. That’s why I tell always brilliant. you these stories iV Because he could h 23 Cinema burned the boulevard installed ten years and quick shipwrecks some sour vomit my mother’s gone – in the lead sky large galleries of his childhood did not yet know to be themselves. -
The Artist As a Work-In-Progress: General Idea and the Construction of Collective Identity
Forum for Modern Language Studies Vol. 48,No.4, doi: 10.1093/fmls/cqs022 THE ARTIST AS A WORK-IN-PROGRESS: GENERAL IDEA AND THE CONSTRUCTION OF COLLECTIVE IDENTITY DEBORAH BARKUN ABSTRACT Downloaded from In its twenty-five years of activity (1969–1994), the art collective General Idea developed a complex artistic mythology and identity that permitted it to produce a substantial corpus of work while confronting challenges provoked by evolving social relationships and, eventually, HIV/AIDS. The group main- tained a cohesive partnership, a ‘collaborative body’ that subsumed individual members’ identities within a collective whole. This paper analyses the concep- http://fmls.oxfordjournals.org/ tual projects and artists’ statements of the group’s first decade, many of which belong to the domain of Correspondence and Mail Art. It argues that these textual and performative artworks strategically constructed an elaborate collect- ive identity. They equally functioned as a vehicle through which to develop methods and strategies of collaborative practice, reflecting debates about authorship such as those theorized contemporaneously by Roland Barthes and Michel Foucault. Keywords: General Idea; collaboration; authorship; collectivity; Correspondence Art; Conceptual Art; Mail Art; manifesto; performance; gender; sexuality by guest on October 16, 2012 IN 1969,CANADIAN ARTISTS AA Bronson (b. Michael Tims), Jorge Zontal (b. Slobodan Saia-Levi) and Felix Partz (b. Ron Gabe) formed a multimedia art collective named General Idea (Figure 1).1 General Idea’s formation was less deliberate than organic, a process evoked by the biological metaphors the group later used to characterize its collaboration, and the concepts and dissemination of its work. -
Jackman Humanities Institute 2015-2016
ANNUAL REPORT OF THE JACKMAN HUMANITIES INSTITUTE 2015-2016 NICOLE KELLY WESTMAN, FROM THE SERIES INHERITED NARRATIVES, 2014 TABLE OF CONTENTS: JACKMAN HUMANITIES INSTITUTE ANNUAL REPORT, 2015-2016 1. Overview 2015-2016 1 1.1. Annual Theme: Things that Matter 2 1.2. Art at the Institute: “Talking Back, Otherwise” 3 2. Message from the Director of the Jackman Humanities Institute 4 3. New Activities 6 3.1. Research Communities 7 3.1.1. Aesthetic Education: A South-North Dialogue 7 3.1.2. Digital Humanities Network 8 3.1.3. Scholars-in-Residence @ Victoria College 8 3.2. Marquee event: Aerial Evidence in Zones of Conflict 9 3.3. Additional Events 10 3.4. CLIR Postdoctoral Fellows 12 3.5. The Toronto Workshop: Long-Form Non-Fiction Writing for Academics 13 3.6. Follow up results from 2014-2015 Workshops 15 4. Fellows 16 4.1. Jackman Humanities Institute Circle of Fellows 17 4.2. Chancellor Jackman Faculty Research Fellows in the Humanities 19 4.3. Distinguished Visiting Fellow Arjun Appadurai 30 4.4. Postdoctoral Fellows 31 4.5. Graduate Fellows 38 4.6. Undergraduate Fellows 41 4.7. News from Alumni Fellows 46 5. Jackman Humanities Institute Program for the Arts 53 5.1. Overview of Activities and Chronological List of Events 54 5.2. Rocks, Stones, Dust 56 5.3. Casimir and Caroline 57 5.4. Animate Entities: Objects in Performance 59 5.5. Metals and Memory 60 5.6. Contemporary Art, Materiality and the Archive 61 5.7. Trace/Index/Imprint 63 5.8. Puppet Masters: Uncanny Life, Grotesque Entertainment, Global Performance 64 5.9. -
Universidad De La Laguna
UNIVERSIDAD DE LA LAGUNA Alterity and metafiction: poetic design in the work of Michael Ondaatje Autor: Llarena Ascanio, María Jesús Director: Bernhard Dietz Guerrero Departamento de Filología Inglesa y Alemana A Janet Inksetter y a Eugenia Estanga Acknowledgements This study would have been impossible without the help of numerous people and institutions.. I wish to thank the Government of the Canary Islands and its Consejería de Educación, Cultura y Deportes for both a generous four-year Research Scholarship, “Beca de Postgrado Conducente a la Obtención del Grado de Doctor,” (1992-1996),and a second four-month grant to be part of the Canadian Studies Program of the University of Ottawa (1997). Both the Government of the Canary Islands and the Spanish Association for Canadian Studies have contributed financially to various of my conference trips in which I have had the opportunity to test my work in progress. They have alsopartially or totally funded my several stays as a Visiting Scholar at theUniversitiesof Toronto,Ottawa and Manitoba. I am indebted to the Centre for Canadian Studies at the University of La Laguna for providing me with the academic forum as well as the institutional support necessary for the research and writing of this project. My most sincere thanks to Professor Sam Solecki, former Dean of Humanities of the University of Toronto,who kindly guided me for several years since I first went to the University of Toronto in the summer of 1994, as well as to the Staff at Robarts Library and the National Library of Canada, especially to its director Mr. -
The Language Revolution: Borderblur Poetics in Canada, 1963-1988
THE LANGUAGE REVOLUTION: BORDERBLUR POETICS IN CANADA, 1963-1988 ERIC SCHMALTZ A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENGLISH YORK UNIVERSITY TORONTO, ONTARIO JUNE 2018 © ERIC SCHMALTZ, 2018 ii Abstract This dissertation examines the emergence and development of a radical node of Canadian poetic activity known as the Language Revolution––that is, a movement concerned with the creation and proliferation of largely non-lyrical poetic modes by a number of Canadian poets whose careers mostly began in the 1960s and early 1970s. These poets include well-known writers like bpNichol, bill bissett, and Steve McCaffery alongside lesser-known but equally important figures such as Judith Copithorne, Martina Clinton, Gerry Shikatani, David UU, Susan McMaster, and Penn Kemp. As a loose affiliation, they gathered around shared values of poetic experimentation and small press literary culture, but they also actively pushed the boundaries of writing by exploring concrete poetry, sound poetry, and haptic poetry––the core topics of this dissertation’s three chapters. These poets described their work as “borderblur,” a term that acknowledges a broad range of poetic and artistic activity that seeks to dissolve boundaries between language, visuality, materiality, sound, and bodies. Over the course of this study, I examine how the poets of the Language Revolution develop a borderblur-based poetic as a reaction to problems posed by the expression of feeling during a period when human life was being standardized by emergent telecommunication technologies, a rapid increase in consumerism, and major shifts––documented by Marshall McLuhan and others––in human psychic and social life.