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Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
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. -
The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos. -
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. -
Note to Users
NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI Social Discourse in the Media Interpretation of Christiane Pflugfs Do11 Paintings Michelle H. Veitch The Department of Art History Presented in Partial Fulfilment of the Requirements for the Degree of Master of Arts at Concordia University Montreal, Quebec, Canada September 19 9 8 Q Michelle H. Veitch, 1998 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canach Canada Your fik, Votre teference Our I% Notre rréfdrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou su.format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othedse de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. -
Winter 2003 Newsletter
ARLIS ON it’s about YOUR community ARLIS ONTARIO’S OFFICIAL E-NEWSLETTER vol. 1 • #2 • fall 2003 contents notes from member the chair profiles message from the chair Hildegard Lindschinger The fall semester, the first Art-related printed and .............................1 & 4 involving the “double cohort,” manuscript materials in member profiles is racing toward its finish line. Archives & Special Art-related materials in As we race along with it, we’ll Collections, Scott Library, Archives & Special Collections, be glad to finally catch our Scott Library, York University breath, catch up on some of York University Mary Williamson Mary Williamson those ever-growing piles on .............................1 & 2 our desks... recent projects The Silent Auction event at Art Gallery of Ontario OCAD on December 15 Randall Speller should be the perfect antidote .............................2 & 3 to any stress encountered along the way! upcoming At the Fall Meeting in Toronto, we had passed out events surveys about what kind of work is done by our ARLIS/NA Ontario members. Charles Eames furniture. ANNUAL Twenty-three forms were Archives & Special Collections filled out and submitted; the SILENT AUCTION following is a summary that Monday December 15, you might find quite 6:00 pm - 9:00 pm interesting. BOOKS, PERIODICALS, Ontario College of Art & EXHIBITION CATALOGUE Design Library Of the 23 entries, 18 were When I began my career at # bring your favorite"potluck" from members; 5 were visitors York as Fine Arts hors d'oeuvres Bibliographer in 1970, art # acquire treasures from your at the Fall meeting. ARLIS-Ontario colleagues! books in many categories Visit the ARLIS-Ontario Continued on pg. -
The Montreal Museum of Fine Arts
Annual Report 05/06 The Montreal Museum of Fine Arts Conserving for All to Share The Montreal Museum of Fine Arts, true to its vocation of acquiring and promoting the work of Canadian and international artists past and present, has a mission to attract the broadest and most heterogeneous public possible, and to provide that public with first-hand access to a universal artistic heritage. Annual Report 05/06 Cover: The Montreal Museum Michael Snow of Fine Arts Four Grey Panels and Four Figures From the series “Walking Woman”, 1963 Purchase, The Montreal Museum of Fine Arts’ /03 President’s Report Volunteer Association Fund and /07 Director’s Report Horsley and Annie Townsend Bequest 2005.97.1-4 /12 Volunteers’ Reports /13 Officers and Board of Trustees /14 Committees /15 Exhibition Calendar /16 Acquisitions /36 Auditors’ Report and Financial Statements The Montreal Museum of Fine Arts Foundation /51 President’s Report /53 Officers, Trustees and Committees /54 Auditors’ Report and Financial Statements /60 Fund-raising /69 Sponsors /70 Museum Staff The Montreal Museum of Fine Arts 02/03 President’s Report As I study the results and projects such as the acquisition Museum could again become a the high quality of our services. performance of the Montreal of the Erskine and American flagship for the arts in Montreal. But the facts must be faced: Museum of Fine Arts in the Church and its conversion to a I am delighted to be able inventiveness has its limits, and year 2005-2006, the word that Pavilion of Canadian Art and the to report that, overall, the the financial constraints under comes to mind is “paradox.” It is eventual expansion southward Montreal Museum of Fine Arts which we labour constitute a truly paradoxical that, despite of the Jean-Noël Desmarais still stands in a class of its own; severe handicap on our ambi- the fact that we have had our Pavilion ought to be not only nevertheless, year after year tions for the future. -
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. -
Drawer Inventory Combined G
Class Size code File # Item # Title Author CB13 half 26 #12 Population Xiao Hangha CB13 half 26 #13 Health CB13 half 26 #14 Land Xiao Kanghai Great Historical Documents - Victory Propaganda of the Great Shanghai full 26 Proletarian Culture Revolution People's Press Threshold FC177 quarter 020C1 #1 Animal Farm Theater Claire Coulter in "The Fever" by Threshold FC177 quarter 020C1 #2 Wallace Shawn Theater Comedy Cabaret in the Baby FC177 quarter 020C1 #3 Serious Comedy for Oxymorons Grand Comedy Cabaret in the Baby FC177 quarter 020C1 #4 Serious Comedy for Oxymorons Grand Sunbuilders in Association with Brilliant Turquoise of her A. Small Theatre FC177 quarter 020C1 #5 Peacocks Co. FC177 letter 020C1 #6 Live Sex Show - Llamas FC177 letter 020C1 #7 Live Sex Show - Llamas FC177 quarter 020C1 #8 Kingston Fringe Festival FC177 quarter 020C1 #9 Kingston Fringe Festival Kingston Fringe FC177 quarter 020C1 #10 No More Medea Festival FC177 quarter 020C1 #11 Walk FC177 quarter 020C1 #12 Cold Comfort FC177 quarter 020C1 #13 Cold Comfort Pagnello Theatre FC177 quarter 020C1 #14 Don't Forget to Breathe Group Mirimax FC177 letter 020C1 #15 Face Productions FC177 letter 020C1 #16 Newsweek. Art or Obscenity? Month of Sundays, Broadway Bound, A Night at the Grand, Baby Fringe FC177 quarter 020C1 #17 Sex and Politics Theatre Festival FC177 quarter 020C1 #18 Shaking Like a Leaf FC177 quarter 020C1 #19 Bent FC177 quarter 020C1 #20 Bent FC177 quarter 020C1 #21 Kennedy's Children FC177 quarter 020C1 #22 Dumbwaiter/Suppress FC177 letter 020C1 #23 Bath Haydon Theatre Kingston Fringe FC177 quarter 020C1 #24 Using Festival West of Eden FC177 quarter 020C1 #25 Big Girls Don't Cry Production Two One Act Plays: "Winners" A. -
Université De Montréal Faculté De L'aménagement École D'architecture
Université de Montréal Faculté de l’aménagement École d’architecture Rapport présenté au Conseil canadien de certification en architecture CCCA( ) en vue du maintien de l’agrément du programme de maîtrise en architecture offert par l’École d’architecture de l’Université de Montréal Informations supplémentaires 4.1 Présentation de l’établissement et historique du programme 4.1.1 Historique du programme 1 4.1.2 Mission de l’École 6 4.2 Évaluation des progrès des étudiants 8 4.3 Description des cours offerts 11 4.4 Curriculum vitae des membres du corps professoral 73 4.5 Rapport de l’Équipe de visite RÉV 2014 203 4.6 Rapports annuels 243 © Paul Lewis 4. Informations complémentaires 4.1 Présentation de l’établissement et historique du programme L’annexe du RPA doit inclure un bref historique et une brève description de l’établissement dans lequel le programme se trouve, ainsi que l’énoncé de mission actuel de l’établissement et la date de son adoption ou de sa dernière révision. Ces renseignements peuvent être fournis sous forme d’hyperlien. L’historique de l’Université de Montréal est disponible au https://www.umontreal.ca/l-udem/#histoire La rubrique Faits et chiffres du site web décrit brièvement l’UdeM : https://www.umontreal.ca/l-udem/#classements 4.1.1 Historique du programme L’annexe du RPA doit inclure un bref historique du programme. Histoire de l’École d’architecture Jusqu’au XIXe siècle, il n’y a pas eu de véritable enseignement de l’architecture au Québec. On accédait à cette Historique du programme profession après une longue période d’apprentissage chez un praticien. -
Avrom Isaacs Fonds (F0134)
York University Archives & Special Collections (CTASC) Finding Aid - Avrom Isaacs fonds (F0134) Generated by Access to Memory (AtoM) 2.4.1 Printed: May 29, 2019 Language of description: English York University Archives & Special Collections (CTASC) 305 Scott Library, 4700 Keele Street, York University Toronto Ontario Canada M3J 1P3 Telephone: 416-736-5442 Fax: 416-650-8039 Email: [email protected] http://www.library.yorku.ca/ccm/ArchivesSpecialCollections/index.htm https://atom.library.yorku.ca//index.php/avrom-isaacs-fonds Avrom Isaacs fonds Table of contents Summary information .................................................................................................................................... 40 Administrative history / Biographical sketch ................................................................................................ 40 Scope and content ......................................................................................................................................... 41 Notes .............................................................................................................................................................. 41 Access points ................................................................................................................................................. 42 Collection holdings ........................................................................................................................................ 42 1996-036, Accession 1996-036 (1961-1991) ............................................................................................ -
Toronto Improvisation, Abstract Expressionism, and the Artists' Jazz
Critical Studies in Improvisation / Études critiques en improvisation, Vol. 11, Nos. 1-2 “We Can Draw!”: Toronto Improvisation, Abstract Expressionism, and the Artists’ Jazz Band David Neil Lee The improvised performance practice that came to be known as “free jazz” burst into prominence around 1960, and soon proved itself a genre extremely permeable to influences from other artistic disciplines. It was, as John Szwed writes, “. played by musicians who often seemed to have completely escaped the jazz recruitment process. They were classically trained virtuosos and musical illiterates, intellectuals and street rebels, and highbrows disguised as primitives” (Szwed 236). Ted Gioia calls the first free jazz musicians “. almost all outsiders . an outgrowth of the bohemians and ‘angry young men’ of the 1950s” (Gioia 311). To make the members of this new movement even harder to pigeonhole, George E. Lewis points out that the new music’s emergence “was a multiregional, multigenre, multiracial, and international affair” (Lewis 40). If there was any consistency among these varied practitioners, it lay in their identification—imposed either by themselves or by their circumstances—as, in Gioia’s terminology, “outsiders,” and in their adoption of the music, what Lewis describes as “a symbolic challenge to traditional authority” (40). Over the previous two decades, abstract expressionist art had been evolving a similar language of resistance, positioning itself as a symbolic challenge to authority. It also polarized opinions in the visual art world just as free improvisation would do in the jazz world. Serge Guilbaut, for instance, writes that Jackson Pollock’s work was seen as “. ‘unpredictable, undisciplined, explosive’ .