McMichael
Annual Report 2017–18 McMichael Philosophy
McMichael Vision To be recognized as an extraordinary place to visit and explore Canadian culture and identity, and the connections between art and nature. “…extraordinary place to visit…” A physical and virtual gathering place that provides
Table of Contents Table an engaging and continually changing experience to targeted audiences and communities, driving new and repeat visits.
“…explore Canadian culture and identity…” Enabling our visitors to understand who we are as Canadians and where we fit in the global context over time, through the medium of art.
“…connections between art and nature.” Bringing together and integrating the visual arts with the natural world and creating a cultural landscape, uniting the visual arts with the natural world.
Contents McMichael Philosophy 1 Special Exhibitions 26 McMichael Canadian Art Collection: 3 Loans 30 A Year in Review Acquisitions l Permanent Collection 32 Highlights from 12 Months of Extraordinary 6 A Tribute to Our Donors 40 Art and Experiences Board of Trustees 46 Indigenization Initiatives 8 McMichael Canadian Art Foundation 46 McMichael Publications 10 McMichael Honorary Council 46 Programs and Special Events 12 McMichael Volunteer Committee 46 Creative Learning 14 Staff 46 McMichael Digital and Social Media 16 Financial Summaries and Statements 47 On Display from the McMichael Collection 20
*The Art of Canada is an official mark of the McMichael Canadian Art Collection. 2 2017–2018 l Annual Report 1 McMichael CanadianCollection: Art A Year in Review
Andrew W. Dunn Ian A.C. Dejardin
McMichael Philosophy I could not be more proud of what we The 2017–18 year was very successful have achieved this year at the McMichael. for the McMichael. As the only museum anywhere devoted exclusively to We welcomed 118,000 visitors from Canada and around The Art of Canada*, we have an enviable mission: the world; we celebrated Canada’s and Ontario’s to celebrate the breadth and depth of what Canadian art sesquicentennials, marked the centenary of Tom Thomson’s has to offer, from coast-to-coast-to-coast. And that mission death, and saw the opening of the renovated, accessible is catching on. Meeting House; and we welcomed 31,000 students, witnessed the swearing in of 82 new Canadians, and held Last year, McMichael attendance grew by 23 per cent, as we the first Indigenous Land Acknowledgement Ceremony in reached out to ever-widening audiences at home and abroad. Vaughan, ON. This summer, our groundbreaking exhibition The Group of Seven The opening of the deservedly popular exhibition Guitar Project landed at Canada House in London, taking up McMichael Values The Group of Seven Guitar Project launched the year. residency in the refurbished gallery just steps from Trafalgar This special project featured masterwork guitars made by Excellence We are the best in our sector, Square. Meanwhile, David Milne: Modern Painting, curated seven world-renowned Canadian guitar makers in homage are leaders in our field, and have achieved a by Ian Dejardin and Sarah Milroy and shown previously at to each one of the Group of Seven painters, and, as a bonus, national and global reputation. London’s Dulwich Picture Gallery, opened in June at the they got together to collaborate on an eighth, in honour Vancouver Art Gallery, where it delighted both critics and the of Tom Thomson. The McMichael also commissioned a Respect We trust each other and treat public. We will welcome the exhibition with open arms when feature-length documentary, which was released in Cineplex each other, our visitors, and our clients it comes home to roost at the McMichael in October. with integrity and openness, working theatres nationwide—a McMichael first—and held a series of sold-out Acoustic Conversations, where we got to hear the McMichael Mission together to create a culture of inclusion and As I write this, we have just enjoyed our seventh Moonlight luthiers talking about their work and hear their guitars played engagement. Gala. It is a night to see the McMichael at its best, and it by brilliant musicians. To interpret and promote was a beautiful evening, brilliantly chaired by McMichael Canadian, Indigenous, Innovation Our unique legacy lets Canadian Art Foundation Board member Michele McCarthy. On July 1, 2017, we celebrated Ontario150 with the swearing us think outside the box, take risks, and in of 40 new Canadians and opened the exhibition Passion and Inuit art, to attract encourages creativity and fresh ideas. The newly repositioned and rehabilitated Tom Thomson Over Reason: Tom Thomson & Joyce Wieland, a brilliantly Shack was open, as was the path and our new Signe novel and insightful exhibition curated by former Director, local, national, and Learning We encourage research McMichael bridge to the cemetery, the resting place of Curatorial and Collections, Dr. Sarah Stanners. As a and scholarship, generate and disseminate Lawren and Bess Harris; Arthur and Esther Lismer; Frank complement to this exhibition, the gallery commissioned a international audiences. knowledge, inspire creativity, and foster and Florence Johnston; A.J. and Margaret Casson; Frederick series of artworks by Zachari Logan as Artist-in-Residence. visual literacy and critical thinking. We are Varley; A.Y. Jackson; and our founders, Signe and Robert Working in the Tom Thomson Shack, Logan, a Thomson leaders in our field and have achieved a McMichael. The new path and bridge make the cemetery enthusiast, truly activated this “sacred space” of Canadian national and global reputation. much more accessible for those wanting to pay homage art. July 8 marked the centenary of Thomson’s tragically to these cultural giants. We are grateful to Penny and Jack early death, but this more sombre anniversary became a Fenwick for their generous financial support for the bridge, celebration of the life and achievement of Canada’s most in memory of Signe. iconic landscapist, with a two-day festival, where visitors 2 2017–2018 l Annual Report 3 McMichael CanadianCollection: Art A Year in Review
Ian A.C. Dejardin continued: Andrew W. Dunn continued: received free gallery admission and enjoyed special Ian Dejardin, with his legendary charisma and curatorial The photographic portraits were stunning and evoked musical and theatrical performances, outdoor painting creativity, has now completed his first year as Executive Canada’s leadership in this musical genre, highlighting workshops, and tours. Director, and he is making waves. His exhibition, The Art of homegrown artists of the past several decades who are now Canada: Director’s Cut, which opened in December, shows world-renowned. On September 2, the gallery proudly presented the range of our collection through an offbeat and Annie Pootoogook: Cutting Ice—the first major surprising selection of 150 pieces from our holdings. Ian In the spring, we said au revoir to our Director, Curatorial exhibition on the life and work of this renowned Inuk has just completed a rehanging of more than a quarter of and Collections, Dr. Sarah Stanners. We thank her for her artist since her untimely death in 2016. Pootoogook those pieces, as some works need to “rest” back in their dark three years of visionary work, as she takes time to complete is widely known for the skill and bravery with which vault. If you have not yet had a chance to do so, please come her Jack Bush catologue raisonné. The highlights of her she captured contemporary scenes of everyday life in and see the refreshed installation, as well as the striking tenure are extraordinary, from Higher States: Lawren Harris Cape Dorset, Nunavut, not shying away from some that exhibition, J.E.H. MacDonald: Up Close, which opened just and His American Contemporaries to Passion Over Reason: were undeniably disturbing, but all the more moving in time for the Moonlight Gala. Tom Thomson & Joyce Wieland, not to mention her creative for that. Annie Pootoogook: Cutting Ice provided a coupling of Jack Bush with British Columbia contemporary comprehensive, thought-provoking overview of the One of the highlights for me last year was Alex Janvier’s artist Colleen Heslin. As a key driver of the McMichael’s influential legacy of this artist. speech at the opening of our exhibition of his distinctive, rejuvenation, Sarah was innovative, surprising, and My first curated show as Executive Director of the calligraphic abstract landscapes. He spoke at length (with meaningfully engaged with the legacies of the past, and we McMichael, The Art of Canada: Director’s Cut, opened no notes, I might add) and with great emotion about the wish her our very best. on December 9, 2017. This was a great joy for me, and importance of the McMichael to him and to the Indian I hope it is a rewarding experience for our visitors, Group of Seven. Ours was the first major gallery to hold a We were lucky to see a very strong field of candidates for too. It gave me the precious opportunity to delve into show for this group of Indigenous trailblazers and to buy her position and could not be happier that Sarah Milroy has the McMichael’s vaults and choose the works with works from that show for our collection back in the 1970s. signed on as our new Chief Curator. As art critic for The which I felt a strong connection. These included many When I see how the sensitivity to Indigenous issues has Globe and Mail and as Editor of Canadian Art magazine, Canadian classics and favourites, of course, but I have blossomed across Canada in recent years, it makes me Sarah has long been a friend of the McMichael. Sarah and been particularly gratified to hear how many works proud to see the early and decisive stand our museum took Ian have established a wonderful creative rapport over the were unfamiliar, even to people who know the collection decades ago. past seven years, working together on landmark exhibitions “What a home well. Some had never been on display before. Emerging of Emily Carr, Vanessa Bell, and David Milne. This summer from Director’s Cut, and in deliberate contrast to it, and fall, they will be at work on their fourth curatorial the McMichael... our visitors encountered a very different slice of vivid On behalf of the Board of collaboration, this one devoted to the paintings and Canadian culture—a critically acclaimed exhibition as drawings of Winnipeg’s Lemoine Fitzgerald, the last-joining provides for part of the Scotiabank CONTACT Photography Festival. Trustees, and with the member of the Group of Seven. The show is scheduled to …Everything Remains Raw: Photographing Toronto’s open next fall, and it, too, promises lots of surprises. The Art of Canada*!” Hip Hop Culture from Analogue to Digital examines outstanding support of our Toronto’s hip hop scene through photographs, exploring We are an agency of the Province of Ontario, and we could —Ian A.C. Dejardin the history and popularity behind hip hop, showcasing McMichael Canadian Art not fulfill our mandate without the generous financial Toronto as an epicentre of this world-wide phenomenon. support of all of our friends, including the support of the Foundation, expertly Government of Canada and the City of Vaughan, ON. On The breadth and depth of the McMichael’s permanent chaired by Doug McDonald, behalf of the Board of Trustees, and with the outstanding collection continues to grow, with nearly 50 artworks support of our McMichael Canadian Art Foundation, acquired in 2017-18, from three small gems by Wanda thank you to all of our staff, expertly chaired by Doug McDonald, thank you to all of our Koop to distinctive pieces by Stephen Andrews, as staff, our volunteers, our members, our donors, and our well as two magnificent works by Paterson Ewen. our volunteers, our members, sponsors. All acquisitions are listed in the report. our donors, and our sponsors. Please come home to the McMichael soon. What a home the McMichael—this extraordinary, magnificent, gigantic log cabin—in its beautiful unspoilt In the fall, we accepted the archives of Norman E. Hallendy, setting above the historic Humber Valley, provides for the world-renowned ethnographer who spent decades The Art of Canada*! filming, photographing, and recording the stories, the voices, and the people of the last generation of Inuit to Sincerely, live in the old ways, before the institution of present- day communities such as Cape Dorset and Iqaluit. His extraordinary photographs, notes, film footage, and Andrew W. Dunn, FCPA, FCA recordings will be the subject of future exhibitions, Chair, Board of Trustees developed in collaboration with the Smithsonian Institution in Washington, DC. *The Art of Canada is an official mark of the McMichael Canadian Art Collection. Ian A.C. Dejardin, MA Hons, Dip. AGMS Working with the Scotiabank CONTACT Photography Executive Director Festival, the McMichael also proudly presented …Everything
McMichael Canadian Art Collection: A Year in Review ArtA Year McMichael Canadian Collection: *The Art of Canada is an official mark of the Remains Raw: Photographing Toronto’s Hip Hop Culture from McMichael Canadian Art Collection. Analogue to Digital, to great reviews.
4 2017–2018 l Annual Report 5 Highlights from 12 Months of Extraordinary Art and Experiences 7 hours volunteer volunteer 11,700 82 Canadians New in at sworn citizenship ceremonies
visitors exhibition exhibition catalogues published 118,400 118,400 $910,336 $910,336 (up 30% from last year) from (up 30% 3 in Gallery sales Shop 2017–2018 l Annual Report l Annual 2017–2018 McMichael 31,068 students visited the visited students $655,000 at 2017 raised Moonlight Gala First LandFirst Acknowledgement in Ceremony Vaughan
7,158 7,158 members
website visits website more than more 332,000 Highlights from 12 Months of Extraordinary Art and Experiences Experiences and Art Extraordinary of Months 12 from Highlights 6 8 Indigenization Initiatives this year. The other three events inthisseries willbeheldlater issituated.use ofthelandonwhichgallery revolvingstorytelling around theIndigenous presence and hand andshared hisknowledge through ceremony and Mississaugas oftheNew Credit First Nation was also on of thegarden. Ojibway Sault ElderGarry from the Lynn from HumberCollege, Short unveiled thelocation and EldersJimDumontShelley Charles, aswell as this series took place onFebruary 17, astheMcMichael of theIndigenous Ceremonial Garden. Thefirst event in events thatcelebrate theplanning,naming,andopening Four Community isaseries Directions offour Gatherings Indigenous knowledge. a ceremonial space to celebrate andshare traditional groundson thegallery andprovide thecommunity with the garden will acknowledge theIndigenous presence and Schomberg. Designedto grow medicinalplants, bysupported theRotary Club ofKleinburg, Nobleton, Resource Centre, andtheTRCA. Thegarden isgenerously by theMcMichael,Humber effort College Aboriginal of thegarden’s location. Thegarden isacollaborative the McMichaelgrounds commenced withthechoosing The development ofanIndigenous Ceremonial Garden on Four Directions Community Gatherings Indigenous Ceremonial Garden and the Ojibwe Anishinaabe First Nations people. ofacknowledging theoriginalterritoriesimportance of institution, theMcMichaelrecognizes the As anartistic on theoriginallandsofOjibwe Anishinaabe people. placeits withinthathistory. The McMichaelislocated to residethe gallery onlandandto seek to understand thathasbroughtunderstanding thelong-standinghistory peoples ofCanada. Italso reinforced of theimportance ceremony reflected recognition and respect for thefirst Jim Dumont’s teachings andknowledge oftheland,this Land Acknowledgement Ceremony. Through Elder Celebration, theMcMichaelheldVaughan’s first-ever ofthegallery’sAs part National AboriginalDay June 21, 2017 AcknowledgementLand Ceremony Manitou Mkwa Singers. dance championLisa Odjig(Odawa Ojibwe) andthe spaces, andlive performances by two-time world hoop andworkshopsstorytelling intheMcMichael’s gallery TRCA, family walks from story Vaughan Public Libraries, performances thatincluded heritagetrail walks ledby the inavariety offree activitiesand Visitors participated achievements ofthisland. oftheoriginalinhabitants of therichtraditions, diverse cultures, andimportant This fun-filled event was in recognition and support Conservation Authority (TRCA) ofVaughan. andtheCity Celebration withtheToronto inpartnership andRegion The McMichaelhosted aNational AboriginalDay June 21, 2017 National Day Aboriginal 2017–2018 lAnnual Report
in these schools. andDawn’sRoberta personal stories oftheirexperiences the residential school system with inCanada, intertwined both residential school survivors), discussed of thehistory guests HillandDawn(two sisters Roberta whoare the Woodland Cultural Centre, along withtheirspecial residential school system. Lorrie andCarley Gallantfrom The lastsession, heldonFebruary 26, focused onthe ofthewampumon thehistory belttreaties inOntario. Mississaugas oftheNew Credit First Nation presented school system. OnOctober 31, Sault ElderGarry from the cultural oppression in Canada, aswell astheresidential where12, educators of andstafflearnedabout thehistory session ledby ElderShelley Charles was heldonOctober protocols insharingIndigenous knowledge. Thefirst Canadian and theawareness history ofappropriate deeper understandingofIndigenous perspectives on awareness training sessions aimedatencouraging a Staff, docents, and educators inthree cultural took part Cultural Awareness Training heritage. cultural andartistic Canada’sand support mission to celebrate is committed inits Canadian Collection Art The McMichael
Indigenization Initiatives Indigenization 9 McMichael Publications 11
publication includes all the works includes Matters publication Size of a remarkable artist a year after her tragic death. artist her tragic after of a remarkable a year Annie Pootoogook: Cutting Ice Cutting Pootoogook: Annie Art Canadian McMichael the by Co-published Lane and Goose Editions Collection Campbell Nancy Dr. Author: in been translated which has also This publication, and work the life commemorate to serves Inuktitut, the rich and explores embraces Campbell Dr. The book legacy. Pootoogook’s of Annie complexities also but of Pootoogook, the work only celebrates not and reconciliation, of truth it in the context examines globalization. and cultural colonization, Steve Driscoll + Finn O’Hara: O’Hara: + Finn Driscoll Steve Matters Size Art Canadian Collection McMichael the by Published Sarah Stanners Author: The as Stanners, Sarah by and essays the exhibition from the shots demonstrating as behind-the-scenes well as a serve The photographs of the project. process of artmeta-document does the and so documentation rural to From catalogue. of the exhibition publication the demonstrate and O’Hara Driscoll urban backdrops, comparison scale utilizing an innovative paintings by between the art environments. and the exterior Reason: Over Passion Wieland Joyce & Thomson Tom Art Canadian Collection, McMichael the by Published Ontario150 Community assistance of the the with Program Celebration Hudson Anna by essays Sarah Stanners, with Author: Charles and Daisy stands as a catalogue exhibition This limited-edition institutional art to contribution publications.unique than 130 original of more reproductions Featuring artworks the exhibition, from materials and archival by works between major conversation it is a visual Wieland and art feminist pioneer Joyce own Canada’s Tom figure painting cult Canadian by masterworks this publication artist for A third Thomson. in focus another who adds yet 1980), (b. is Zachari Logan into point of influence and comparison anachronistic mix. this unexpected
2017–2018 l Annual Report l Annual 2017–2018
is an official mark of the McMichael Canadian The Art Canadian Collection. is an official mark of the McMichael Art Canada of * McMichael Publications McMichael Art Canadian Collection The McMichael this past publications three produced exhibitions accompany each to year, publications These titles. of the same the and disseminate document aim to Canadian to contributions exhibitions’ art and the gallery’s scholarship with the diverse engagement active The Art surrounding of conversations in the a vital tool are They *. Canada of the McMichael’s communication a are and they and brand, mandate ofcalibre of the tangible reflection projects that the and the exhibitions McMichael’s McMichael is initiating. The participation in the library exchange publications that these ensures program across in museums curators reach distribution and the gallery’s Canada, partnerships books in these place locally, and bookstores shops museum and internationally. nationally, McMichael Publications McMichael
10 on Programs and Special Events 13
Yannick Bisson— Yannick
2 3 outdoor painting workshops, and tours. and tours. painting workshops, outdoor Special Events Recognition Reception Honouring Reception Recognition Events Special 2017 23, Norman E. Hallendy—April an award- Norman E. Hallendy, and celebrate honour held to was A ceremony support whose and author photographer, ethnographer, winning Canadian collection has enriched the McMichael’s the past 35 years the gallery over for donations spanning Through people. Inuit and about of art by and archives than the McMichael more to has gifted Norman Hallendy 2015, to 1980 from of original hours still images, and almost 47 of art, works than 12,000 more 70 and the environment communities, life, details of traditional video revealing gallery Hallendy’s Island in Nunavut. The recognized Baffin of Southwest bench that bears an outdoor in his honour commemorating by contributions Messengers from the Silent his book Inuksuit: from his name and a quotation 2000). McIntyre, & Arctic (Douglas Thomson Tom Remembering Weekend: RBC Welcome 2017 8–9, Arts and Music Festival—July death. This anniversary Thomson’s the centenary of Tom marked 2017, July 8, free received visitors where festival, with a two-day commemorated was and theatrical special musical included Activities the gallery. admission to Mysteries Murdoch ’s by readings performances—featuring Family and Adult Programs and Adult Family Conversations Acoustic and educational, varietyexciting, offer a of to The McMichael continues arts Canadian and for that help bring an appreciation programs interactive the sold-out was past year this A highlight from people of all ages. to culture The Group, which complemented of entitled Acoustic Conversations series that intertwined in this series Art exhibition. Project life to came Guitar Seven of the best performances between some and live conversations moderated and Hadfield, Chris Cook, Jesse Cockburn, virtuosos,guitar Bruce including luthiers. as their favourite as well Rush, Emma Artist-in-Residence Zachari Logan, artist the McMichael’s was Zachari Logan 2017, July 8, to June 26 From Artist-in-Residence. The gallery artworks of a series commissioned by the and its to the project special connection about Stanners, Sarah Dr. exhibition. Reason Over Passion Passion Over Reason: Tom Thomson & & Thomson Tom Reason: Over the Passion into seamlessly that folded Logan and Collections, Curatorial Director, former with the McMichael’s exhibition as a twenty-first-century complement to Thomson’s to Thomson’s complement as a twenty-first-century Wieland exhibition Joyce art to approaches “feminine” strategically and Wieland’s matter subject this “sacred activated Logan Shack, Thomson in the Tom work making. At and Thomson art of both legacy the of Canadian and demonstrated space” for open had his studio Logan residency, week of his Wieland. In the final conversation was in 8, he July visits On his final day, with the public.
2017–2018 l Annual Report l Annual 2017–2018 The McMichael Canadian The McMichael Canadian Art held many Collection and programs engaging the past over special events 12 months that integrated and special art, history, performances. These and specialprograms many attracted events members of the local, national, and international community. 2 for , 1917, a Wildflower was pulledwas a Wildflower , 1917, th
1 Passion Over Reason: Over Passion the exhibition Wieland, Joyce & Thomson Tom for Tom on his painting, Pool, working 8 (July Bruce Cockburn playing a guitar playing Cockburn Bruce by inspired Linda Manzer, made by 2016, S. Harris, of Lawren the works McMichael of Riddle Films, Courtesy Art Canadian Collection. Artist-in-Residence Zachari Logan, , commissioned Lake) from Canoe fromwith financial assistance Thomson in the Tom Ontario150, 2017. July 1, Shack, with (centre) Norman E. Hallendy Executive (Interim Mercure Nathalie A.C. and Ian 2015–17) Director, at the Director) (Executive Dejardin honouring 2017, 23, April on tribute long-time Norman E. Hallendy’s support of the gallery and Inuit his donations through culture comprising and 2015) (between 1980 Archives. the Norman Hallendy
1 2 3 Programs and Special Events Special and Programs
12 on Creative Learning 15 The VOICES program is a unique and exciting partnership exciting and is a unique program The VOICES the Art Collection, between the McMichael Canadian Region and the York Committee, McMichael Volunteer people are young Board. In this program, School District acquire and important skills. Students valuable life taught instructors program by conveyed tools coping new and leadership that mentoring compassionate through of their supporting self-esteem, the achievement build and volunteers Educators in the long term. potential full risks when and take be fearless to students encourage art. about and speaking guided creating are Students that would fears releasing by their inner voices use to lives. in their everyday typically arise Approaches Innovative Engaging opportunity a welcome provides Digital technology within the gallery experiences multi-sensory enhance to whom interaction for audiences engage and to spaces otherwise be a challenge. would with the displays art school to the programs workshops, accessible From art-making one of the most popular has become iPad Programs. Learning Creative within the McMichael’s tools medium, particularlyThis gallery-friendly with popular art engages exploration and allows effectively youth, a variety through response creative an immediate and painting apps to sketching from of applications, apps. music animation, and even photography, VOICES VOICES
2017–2018 l Annual Report l Annual 2017–2018 The McMichael’s highly interactive Creative Learning Learning Creative highly interactive The McMichael’s visual students’ advance designed to are programs interpretation thinking, foster nurture innovative literacy, and get skills, boost creativity, and communication and inspired! students excited Land Learning the from Learning Creative the McMichael’s During the past year, with the closely department has worked and Programs and events programs develop to community Indigenous learning. Initiating this process, on land-based focusing celebrated was Day Peoples Indigenous National Canada’s Land Acknowledgement on June 21, with a formal by Elder Jim Dumont. The process offered Ceremony with a collaboration featuring the summer, over continued Michif artist Belcourt Studio, Christi Signature on a new explore to , inviting students , #WaterIsLife #LandIsSacred and of environmentalism the notion and contemplate artwork in a multimedia their culminating expressing the natural world. to relationship own Creative Learning Creative
get students excited excited get students Creative Learning Learning Creative are programs and boost creativity, and inspired! designed...to nurture nurture designed...to thinking... innovative Creative Learning Learning Creative
14 on on 16 McMichael Digital and Social Media website, compared to theprevious year. 24 percent increase innew users visitingthe year. Itisinteresting to note thatthere was a year, anincrease of29percent from theprevious There were more than332,000 website last visits and engagement ontheMcMichaelwebsite. hasalso experiencedThe gallery strong growth 50 percent. on Facebook. Thisisayear-over-year increase of media interaction, reaching nearly25,000 people pages—received thehighestamount ofsocial exemplifiedtwo onthese by theartworks by theGroup ofSeven andTom Thomson— Guitar Project exhibition, aswell asartworks handcrafted guitars of from Seven TheGroup followers. Videosofmusicians playing on 7,609 Instagramfollowers, and25,200 Twitter nowThe gallery has24,291 Facebook followers, expressed through art. in conversations about Canadian identity, as programs, andspecialevents to engage people about exhibitions, thepermanentcollection, media strategy focuses oncreating stories The McMichaelCanadian Collection’s Art social andSocialMcMichael Media Digital 3 1 4 2017–2018 lAnnual Report 2
4 3 2 1
McMichael Canadian Collection, Art 1966.16.9 the Founders, and Signe Robert McMichael, 1920, oilonpaperboard, 25x30.4 cm,Giftof Franklin Carmichael (1890–1945),, HilltopCedars 1997.2 their family, McMichaelCanadianCollection, Art Given ofAlice andDouglas inmemory Bales by , 1940,Haliburton oilonhardboard, 96.3 cm, x122 Franklin Carmichael (1890–1945), Farm, Collection,Art 1971.9 Gift ofMrs.A.J. Latner, McMichaelCanadian Silver Mine , 1930, oiloncanvas, 101.5 cm, x121.2 Franklin Carmichael (1890–1945), ANorthern McMichael Canadian Collection, Art 1966.16.66 the Founders, andSigne Robert McMichael, 1916, oilonwood x26.7 panel,21 cm,Giftof Tom Thomson (1877–1917), Burned Over Land , 25,200 Twitter followers 7,609 Instagram followers 24,291 Facebook followers McMichael Digital and Social Media Media Social and Digital McMichael 17 on 18 2017–2018 Exhibitions Tony Duggan Smith, of Seven TheGroup Guitar Project, McMichaelCanadian Collection. Art Photograph by DavidWren Hand-crafted guitars by Sergei (leftto right): deJonge, George Gray, Jean Larrivée, LindaManzer, GritLaskin,David Wren, 2017–2018 lAnnual Report
description. for full exhibit See Page 22
2017–2018 Exhibitions 2017–2018 19 On Display from the McMichael Collection 21
2017–2018 l Annual Report l Annual 2017–2018 ,
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is an official mark of the McMichael Canadian Canadian The Art is an official mark of the McMichael Art Canada of , 1959, oil and synthetic resin oil and synthetic , 1959, Milk Truck (1920–2013), Colville Alex Inc., McMichael of ICI Canada cm, Gift x 65.4 65.4 on hardboard, Art 1995.19.12 Canadian Collection, * Collection. The Art of Canada: Director’s Cut The Director’s Art of Canada: and depth of the gallery’s core collection—a collection collection—a core of the gallery’s and depth arts a unique providing and cultural grow, to which continues the public. for experience December 9, 2017 to November 18, 2018 18, November 2017 to 9, December Dejardin A.C. Ian by Curated of the McMichael Director Executive Dejardin, A.C. Ian vaults the gallery’s deep into Art delved Canadian Collection, of art his first of works selection a very personal for make to has Dejardin of the gallery. taking the reins since show curated been that have some also but many classic favourites, included familiar an audience that might surprise and others seen rarely the beauty, art.with Canadian showcases This exhibition and artistry of The Art Canada* of diversity, permanent collection, the gallery’s from his choices Through about a lot revealing on a journey, visitors takes Dejardin along the way, with Canada in love he fell and how himself for his deep appreciation showcasing and most importantly, The Art Canada* of was reflected in the diversity of exhibitions thatexhibitions of in the diversity reflected was the past 12 months. over presented were stands alone as the only publicly funded publicly as the only stands alone fine art on focuses gallery the nation that in art artCanadian Indigenous and the of our and contemporary. historical both country, strengthening to is committed The McMichael of Seven Group its renowned and showcasing new and welcoming collections and Indigenous galleryartistic our spaces. into perspectives The Art celebrate to * Canada of Our mandate, The McMichael Canadian Art Collection Canadian McMichael The Exhibition Program Exhibition On Display from the McMichael Collection McMichael the from Display On
20 on On Display from the McMichael Collection
Ivory, Bone, Antler and Horn: Masterworks of Inuit Sculpture An inukshuk is a February 10 to May 13, 2018 Curated by Dr. Nancy Campbell man-made, human-like Inuit artists work in distinctive, innovative styles and structure constructed to combine ivory, bone, antler, and horn to great effect. Whale bone, caribou bone, and antler are frequently used for carving by Inuit. assist in hunting; serve as Tukilik: the Inukshuk and Inuit Art For centuries, Inuit have been carving utilitarian a message, sign, or signal; from the McMichael Canadian objects and decorating their tools with ivory, bone, antler, and horn. In the late nineteenth and early Art Collection function as a marker; February 10 to May 13, 2018
On Display from the McMichael Collection from On Display twentieth centuries, they began creating sculpture for sale outside the community, as a source of income. serve as a symbol; Curated by Dr. Nancy Campbell The early works were usually small carvings from Tukilik, an Inuktitut word defined as a “thing that walrus ivory representing seals, caribou, polar bears, has meaning,” was an apt title for this exhibition and birds, as well as small ivory genre scenes of act as a memorial; or that explored the many meanings and artistic hunting from kayaks, driving dog teams, or skinning interpretations of inuksuit (plural of inukshuk) seals. Appropriately, these small items are usually serve as a place of of Baffin Island. There were more than 60 referred to as “trade sculptures.” photographs, drawings, prints, and sculptures power and veneration. from the McMichael Canadian Art Collection, The history of Inuit sculptures as a source of income, including the Norman E. Hallendy Archives. types of bone used for specific carvings, and the Norman Hallendy (b. 1932), Innunguaq at Itiliardjuk, significance of this art form were explored in this Southwest Baffin Island, 1990, 35mm colour slides, The exhibition. Norman Hallendy Collection, Gift of Norman Hallendy, 2009, McMichael Canadian Art Collection Archives, Alain Iyerak (b. 1920), Caribou, c. 1975, antler with black ARC-NH2009.F9.2.1 coloured incising and stone, 55.5 x 113.5 x 30.5 cm, Purchase 1985, McMichael Canadian Art Collection, 1985.10.A-.E
22 2017–2018 l Annual Report 23 on On Display from the McMichael Collection Norval Morrisseau March 30 to September 30, 2018 Curated by Ian A.C. Dejardin AA display of works by Norval Morrisseau (1931-2007) and the Woodland School from the McMichael’s permanent collection.
Morrisseau was Artist-in-Residence at the McMichael in 1979, and the gallery holds an important collection of his works. An influential figure, he was founder of the so-called Woodland School, which included popular artists Daphne Odjig (1919–2016) and Carl Ray Morrisseau’s (1943–1978), also represented in the display. innovative and highly Morrisseau was raised by his grandparents in an atmosphere of intense spirituality, both Indigenous individual style is (his grandfather) and Catholic (his grandmother). Morrisseau’s innovative and highly individual style derived from this is derived from this cultural background and from his own inner spirituality, which he characterized as cultural background shamanic. His grandfather was a noted shaman, and the principle of shamanic transformation informs and from his own much of Morrisseau’s work. Morrisseau’s Ojibway name, given to him at the age of 19 as part of a inner spirituality... healing ceremony during a severe illness, translates as “Copper Thunderbird”; this is the name with which he signed his work.
Norval Morrisseau (1931–2007), Shaman and Disciples, 1979, acrylic on canvas, 180.5 x 211.5 cm, Purchase 1979, McMichael Canadian Art Collection, 1979.34.7
Robert Davidson One of his special March 30 to July 1, 2018 Curated by Ian A.C. Dejardin achievements has been A display of works on paper by Robert Davidson from the McMichael’s permanent collection. Robert Davidson (born in 1946) grew up in Masset, to use his virtuoso in the Haida territory of the Haida Gwaii, an archipelago off British Columbia’s west coast. He served an apprenticeship with the great Bill Reid, command of the and he has gone on to match his mentor, working in many materials that include wood, silver, argillite, bronze, and aluminum. Like Reid, Davidson’s work is On Display from the McMichael Collection from On Display traditional Haida visual grounded in a profound study and understanding of Haida craftsmanship, sculpture, and design. language to create One of his special achievements has been to use his virtuoso command of the traditional Haida visual language to create contemporary works in both contemporary works two and three dimensions. He is one of the most decorated Canadian artists, having received many distinctions, including the Order of Canada and the in both two and three Order of British Columbia.
dimensions. Robert Davidson (b. 1946), I Got My Life Back, 1995, acrylic on paper, 101.4 x 152.6 cm, Purchase 1995, Gift from the Christopher Bredt and Jamie Cameron Collection, McMichael Canadian Art Collection, 2014.6.17
24 McMichael Canadian Art Collection 2017–2018 l Annual Report 25 on Special Exhibitions 27
included a series of commissioned artworks Zachari Logan, of commissioned a series included by on the Shack Thomson an installation in the Tom involving McMichael grounds. cm, x 26.8 21.6 oil on board, Summer Day, 1915, (1877–1917), Thomson Tom 1966.15.18 Art Collection, McMichael Canadian Laidlaw, R.A. Gift of Mr. Passion Over Reason: Reason: Over Passion Wieland Joyce & Thomson Tom 2017 19, November 1 to July Sarah Stanners Dr. by Curated paid Wieland Joyce & Thomson Tom Reason: Over Passion Ontario-born artists. two groundbreaking to The title of tribute Minister Prime of former reversal is a deliberate the exhibition over “Reason motto: personal oft-quoted Trudeau’s Elliott Pierre letter love a passionate considered was passion.” This exhibition of the subjects at the core and Canada—two Thomson Tom to between masterworks a conversation year—and sesquicentennial Wieland. art feminist pioneer Joyce Canada’s and by Thomson by Canada’s to approach a critical took Reason Over Passion of masculine figure his status as a cult with Thomson, fascination story that and the mystery and mythology of his life mystique, as the embodiment of quiet, painter woodsy a virile, has cast resilience. Canadian virtually out brought the McMichael all this special occasion, For and paintings, drawings, photographs, its holdings of Thomson’s works— these objects.personal A dynamic installation presented by with works unexpected—interwoven some familiar, some issues addresses and humour of sex use playful Wieland, whose of nationalism. and the pitfalls patriotism, of ecology, and sexuality, gender, with nationality, on a play With a focus on two perspective a new presented Reason Over Passion artists. Canadian also This exploration trailblazing iconic,
2017–2018 l Annual Report l Annual 2017–2018 Reason Over Passion approach a critical took fascination Canada’s to his Thomson, with Tom figure status as a cult mystique, of masculine and and the mystery mythology of his life story...
, Project Guitar The Group Seven of David Wren, by: guitar Hand-crafted David Wren by Photograph Art Collection. McMichael Canadian The Group of Seven Guitar Project Seven of The Group 2018 18, March 2017 to 6, May Sarah Stanners Dr. by Curated was S. Harris that Lawren noted once MacDonald J.E.H. natural rhythms the nearby sat a tune when he sing to compelled 2017—Canada’s air. During summer en plein paint to of water a became Art Canadian McMichael Collection 150th year—the space. delight in acoustic and celebrate, wander, to place of one the length over took Project Guitar The Group Seven of Eight masterwork spaces. most honourable of the McMichael’s Canadian world-renowned seven from commissioned guitars, member a particular in homage to of Seven Group makers guitar allowing round, in the presented were Thomson, and Tom in landscapes the various and explore around walk to viewers The luthiers instrument. the musical by hosted and inlay wood (Lawren Linda Manzer artistsand their respective as follows: are Duggan- Tony MacDonald), (J.E.H. de Jonge Sergei S. Harris), Carmichael), (Franklin (Arthur Wren Lismer), David Smith and Varley), (F.H. Grit Laskin Johnston), (Frank Gray George by inspired The eighth guitar, Jackson). (A.Y. Larrivée Jean working luthiers effortseven by all a group was Thomson, Tom together. were each luthier plans and drawings from The working along with didactics that appealed to on the walls, featured all generations. In addition, a documentary film on the making length within the exhibition feature in screened of each guitar space. of the guitars the presentation to anteroom impressive An of Seven the Group of paintings by a special exhibition featured viewers in paint primed masterworks These Thomson. and Tom talents between the of each artist the connection make and to inspired. that they the guitars Special Exhibitions Special
26 on Alex Janvier Special Exhibitions This exhibition celebrated October 7, 2017 to January 21, 2018 the strength and Curated by Greg Hill This major retrospective, organized by the National contemporaneity Gallery of Canada, celebrated Alex Janvier’s lifetime of creativity, knowledge, and perspective, gained through of Pootoogook’s work, but his love of the land, art, and Dene culture. Exploring his 65-year career through more than 100 remarkable it also uncovered how it has paintings and drawings, it was the largest and most comprehensive retrospective on the artist to date. influenced her peers. This touring exhibition featured works from public and private collections across Canada and included well- known masterpieces, as well as pieces that had never Annie Pootoogook: Cutting Ice been on public display. The artist’s unique paintings, September 2, 2017 to February 11, 2018 with their vivid colours and calligraphic lines, combine Curated by Dr. Nancy Campbell Denesuline iconography with Western art styles and “Cutting Ice” is a term that implies something that techniques, such as automatic painting and modern matters or has consequence. Dr. Campbell’s curatorial abstraction. Exploring the geocultural landscape of expertise lent new insights to our understanding of Annie Janvier’s northern Alberta home, his works on paper, Pootoogook’s work and enlivened the many voices from canvas, and linen reference Indigenous culture and the community that she has come to know well. history, including his own experience of the effects of colonization and residential schools, using his distinctive This exhibition celebrated the strength and personal aesthetic. contemporaneity of Pootoogook’s work, but it also uncovered how it has influenced her peers. Alongside Bottom: Photograph by Aaron Pierre Special Exhibitions Special works by Pootoogook, this exhibition included works of art by Shuvinai Ashoona, Itee Pootoogook, Jutai Toonoo, Ohotaq Mikkigak, and Siassie Kenneally, showing how Annie Pootoogook made it possible to begin a different conversation that celebrates Inuit art in new ways in Canada and the world. Bringing these artists’ works and ...capture the growth, vibrancy, words together in the Cutting Ice exhibition, celebrated Annie Pootoogook as an important creative catalyst in creativity, and influence of the contemporary art. hip hop scene that Toronto has Top left: Annie Pootoogook (1969–2016), Composition (Happy Woman), 2003–2004, coloured pencil and felt tip pen on paper, 39.6 x 50.8 cm, Gift from the Christopher Bredt and Jamie fostered since the 1980s. Cameron Collection, McMichael Canadian Art Collection, 2016.10.1, Reproduced with the Permission of Dorset Fine Arts
…Everything Remains Raw: Photographing Toronto’s Hip Hop Culture from Analogue to Digital March 3 to October 21, 2018 This major retrospective, Curated by Dr. Mark V. Campbell A Primary Exhibition Organized by the McMichael Canadian Art Collection for organized by the Scotiabank CONTACT Photography Festival. …Everything Remains Raw is a photographic exploration National Gallery of of the resilience of hip hop culture and asks why this supposed “fad” has not faded away. Archival photographs Canada, celebrated act as visual representations of hip hop culture in Canada and guide this exhibition’s consideration of the evolution Alex Janvier’s lifetime of and longevity of this now-global cultural phenomenon. Works by Toronto-based photographers in the 1990s and creativity, knowledge, early 2000s—many of which have never been publicly displayed—capture the growth, vibrancy, creativity, and influence of the hip hop scene that Toronto has fostered and perspective, gained since the 1980s. through his love of This exhibition expresses a narrative which reinforces that hip hop culture is vital to creating a sense of belonging in this country. In addition to the photographic the land, art, and works, paintings by David Strickland, a video installation by Mark Valino, and new works from renowned graffiti Dene culture. artists Elicser, Eklipz, and EGR ensure that the possibility of a Canadian hip hop archive is not only plausible, but also highly visible and vibrantly celebrated as Canadian culture. Top right: Patrick Nichols (b. 1965), 10013 Michie Mee, 1993, 40 x 40 in., 120mm colour transparency, Digital chromogenic print, Courtesy of the artist
28 2017–2018 l Annual Report 29 on Loans Alberta 3 Sherwood Park O Canada (I’m sorry): Photographs by Diana Thorneycroft Strathcona County Art Gallery @ 501 March 3 to April 30, 2017 Nine chromogenic prints by Diana Thorneycroft Loans British Columbia Whistler Audain Art Museum January 24, 2017 to January 2018 Four paintings by J.E.H. MacDonald
Whistler Stone and Sky: Canada’s Mountain Landscape Audain Art Museum November 11, 2017 to February 26, 2018 Thirteen paintings by members of the Group of Seven, Emily Carr, and George Pepper Manitoba Winnipeg Pitaloosie Saila: A Personal Journey Winnipeg Art Gallery October 28, 2017 to April 15, 2018 Fourteen drawings and prints by Pitaloosie Saila from Diana Thorneycroft (b. 1956), Group of Seven Awkward Moments (Winter at Sombre Hill), 2009, chromogenic print the Cape Dorset Archive 3 mounted on matboard, 53.3 x 76.2 cm (21 x 30 in.), Gift of the artist, McMichael Canadian Art Collection, 2012.2.20 Ontario Ottawa 4 F.H. Varley (1881–1969), Early Morning, Sphinx Mountain, c. 1928, oil on canvas, 19.4 x 139.8 cm, Canadian and Indigenous Art 1 Purchase 1972, McMichael Canadian Art Collection, 1972.11 National Gallery of Canada June 15, 2017 to July 2019 One bracelet by Charles Edenshaw
Peterborough Arthur Shilling: The Final Works Art Gallery of Peterborough, and touring to Art Gallery of Windsor, Windsor February 17 to May 13, 2018 One painting by Arthur Shilling Quebec Gatineau The Canadian History Hall Canadian Museum of History Ongoing from July 1, 2017 Two paintings by A.J. Casson and A.Y. Jackson International 1 Paris Mystical Landscapes: Masterpieces from Monet, van Gogh and more Charles Edenshaw (1839–1920), Bracelet–Frog Design, c. 1899, gold, 1.4 x 6.5 x 4.8 cm, Purchase 1977, Art Gallery of Ontario, Toronto, 4 McMichael Canadian Art Collection, 1977.21 and Musée d’Orsay, Paris October 22, 2016 to June 25, 2017 One painting by F.H. Varley “With all the money being spent to store 2 London David Milne: Modern Painting and conserve work, it doesn’t make sense Dulwich Picture Gallery, February 14 to May 7, 2018; Vancouver Art Gallery, Vancouver, June 16 economically or morally not to share it with to September 9, 2018; McMichael Canadian Art Collection, October 5, 2018 to January 14, 2019 the largest possible audience.” Three paintings by David Milne
David Milne (1882–1953), Summer Colours, 1936, oil over graphite on canvas, —Eli Broad, The Art Newspaper 2 31 x 36.5 cm, Purchase 1993, McMichael Canadian Art Collection, 1993.4.2
30 2017–2018 l Annual Report 31 on Acquisitions l Permanent Collection 33
The Art is an official mark of the Canada of The Art*. Canada of * Art McMichael Canadian Collection. 2016, or a fever, a daydream, Like 1980), (b. Driscoll Steve panel, 214 and oil pigment on plastic urethane cm, × 280 Gift of the artist, Art 2017.4 McMichael Canadian Collection, Spotlight on Spotlight Acquisitions the of and depth The breadth collection permanent McMichael’s with nearly 50 grow, to continue artworks in 2017–18. acquired the donations demonstrate These that the spirit impact significant on a public have of giving can the make to gallery—helping than 6,500 of more collection Notable artworks what it is today. the seven were acquisitions for guitars specially commissioned Project Guitar The Group Seven of be travelling which will exhibition, in London, House Canada to giving an international England, the opportunityaudience to on the and reflect experience of and diversity beauty
2017–2018 l Annual Report l Annual 2017–2018 Acquisitions l Permanent Collection Permanent l Acquisitions
32 Acquisitions l Permanent Collection
“As a gallery, the McMichael is a purveyor of Canadiana.” —The Globe and Mail
Stephen Andrews (b. 1956) Jack Bush (1909–1977) Tony Duggan Smith (b. 1953) Wanda Koop (b. 1951) Based on a True Story, 2000 “Noel—The Bush Family—1 Eastview Crescent Toronto,” Archtop Guitar, quart size, 2015/2017 Untitled, 1997, (from Portfolio 1, published by etching on paper, in two parts 1960/1963 Guitar: Sitka spruce (top); Ontario silver maple Paul M. Conway/artsandbox) each print: 99.7 x 66 cm colour line block print with hand-painting (back and sides); koa wood (binding, decorative gelatin silver print on Ilford paper Gift of Heather Lawson closed: 9.9 x 14.6 cm; open: 9.9 x 21.9 cm elements); Ontario maple (neck and peg block); blond 34.7 x 10.6 cm 2017.6.1.A .B sheet: 25.0 x 36.8 cm Ghanaian ebony (fingerboard, tailpiece and bridge); Gift of Heather Lawson Gift of Jack Bush, Jr., and Elaine Bell steel (tailpiece hinge); bone (nut); spalted maple 2017.6.10 Hors séries from The 1st part of the 2nd half, 2001 2018.1 (peghead veneer); Honduran mahogany (neck and mixed media on Mylar, seven “filmstrips” heel blocks); spalted maple veneer, birchbark strip Memory—Japan, 1998 (from Portfolio 2, published by Paul encased in acrylic Cathy Daley (b. 1955) (extension); antler, abalone, watercolour pencil M. Conway/artsandbox) 244.8 x 122.5 cm Untitled (Dress), April 1998 (from Portfolio 2, (decorative elements); Camac harp levers; Gotoh 510 gelatin silver print on Ilford glossy paper Gift of Heather Lawson published by Paul M. Conway/artsandbox) tuning machines; case: carbon fibre, Kevlar, birchbark, sheet: 35.8 x 28 cm 2017.6.2 lithograph on tissue paper leather, steel hinges, velvet lining image: 33.7 x 18.2 cm Crowd, 2004 43.2 x 30.2 cm Commissioned for The Group of Seven Guitar Project Gift of Heather Lawson linoleum print on Mylar, in nine parts Gift of Heather Lawson 2017.13 2017.6.16 2017.6.15 assembled: 152.4 x 152.4 cm In Your Eyes, 1998 (from Portfolio 3, published by Paul M. each panel: 50.8 x 50.8 cm Paterson Ewen (1925–2002) Untitled (Dress), November 1998 (from Portfolio 3, Chinese Dragons in the Milky Way, 1997 Conway/artsandbox) gelatin silver print on Ilford glossy Gift of Heather Lawson published by Paul M. Conway/artsandbox) paper sheet: 35.3 x 27.9 cm; image: 30.5 x 16.9 cm 2017.6.3 stain on routered plywood etching on paper 243.8 x 350.5 cm Gift of Heather Lawson 2017.6.23 Acquisitions l Permanent Collection l Permanent Acquisitions Dissolve, 2013 sheet: 43.3 x 30.4 cm; image: 29.8 x 22.5 cm Gift of Mary Alison Handford lithograph on paper, in six parts Gift of Heather Lawson 2017.10.1 each print (sheet): 55.9 x 76.2 cm 2017.6.22 Jean Larrivée (b. 1944) and Wendy Larrivée images approximately 38.1 x 64.8 cm each Untitled (Red Line), 1999 Steel string Acoustic Flat Top Guitar, 2015/2016 Gift of Heather Lawson Sergei de Jonge (b. 1949) watercolour on handmade paper Canadian flamed maple; Austrian alpine moon spruce; 2017.6.4.A .F Classical Guitar, 2015/2016 55.9 x 76.2 cm Congolese African mahogany; Cameroonian ebony; British Columbia birchbark laminated onto local maple Gift of Mary Alison Handford African bloodwood and black vulcanized fibre (rosette and Untitled, 1997 (back and sides); white cedar (liners for sides); 2017.10.2 trim); African bloodwood; American poplar heartwood; (from Portfolio 1, published by Paul M. Conway/ Nova Scotia spruce (top); Ontario cherry (neck); Ontario American poplar; Peruvian walnut; American walnut; artsandbox) cherry with Toronto walnut and maple strips George Gray (b. 1951) Indian rosewood; African mahogany; Hawaiian koa; Indian etching and embossing chine collé on tissue on paper (binding and purfling); Ontario cherry (bridge); spalted Steel String Acoustic Flat Top Guitar, 2015/2016 silver oak; Canadian maple (inlay); all natural colours sheet: 38 x 28.7 cm; image: 28.2 x 21.1 cm Ontario maple with walnut and maple strips (rosette); Sitka spruce (top); Indian rosewood (back and sides); except blue, which is dyed Arctic white poplar Gift of Heather Lawson British Columbia birchbark (peghead veneer); Gatineau, ebony (fingerboard and bridge); mahogany and black Commissioned for The Group of Seven Guitar Project 2017.6.9 QC, ironwood cherry (neck, all bindings, portrait plaque on the peghead); 2017.15 Untitled, April 1998 Commissioned for The Group of Seven Guitar Project Parry Sound, ON, granite (rosette) (from Portfolio 2, published by Paul M. Conway/ 2017.12 Commissioned for The Group of Seven Guitar Project Grit Laskin (b. 1953) artsandbox) 2017.14 Flamenco Negra Guitar, 2015/2016 photo serigraph on paper Steve Driscoll (b. 1980) African blackwood (Dalbergia Melanoxylon); inlays: 114.6 x 83.8 cm Like a daydream, or a fever, 2016 Colleen Heslin (b. 1976) amber; red coral; turquoise; denim stone (amalgam); Gift of Heather Lawson urethane and oil pigment on plastic panel Ms. Pacman, 2015 onyx; gaspeite; mother-of-pearl; Tahitian black pearl; shell 2017.6.14 214 x 280 cm dye on cotton (abalone heart, agoya, awabi, conch, spiny oyster); ivory; Gift of the artist 167.6 x 127 cm ebony; Corian® The 12 Apostles, December 1998 2017.4 Gift of the artist and Monte Clark Gallery Commissioned for The Group of Seven Guitar Project (from Portfolio 3, published by Paul M. Conway/ 2017.2 2017.16 artsandbox) photo serigraph on vinyl coated magnet 43.2 x 29.4 cm Gift of Heather Lawson 2017.6.21
Top left: Zachari Logan (b. 1980), Witness, The Near Shore: from Eunuch Tapestries (for Tom), 2017, chalk pastel on black paper, B: 149.9 × 185.4 cm, Commissioned With Financial Assistance From Ontario150, McMichael Canadian Art Collection, 2017.7.1.B 34 2017–2018 l Annual Report 35 on on 36 Acquisitions l Permanent Collection Elementary School, Grade 3 Elementary —Ms. Paniccia, Our LadyofFatima Catholic enjoyed by all—thank you!” with thestudents.The program was well versed inthetopic andverygood well-delivered. Thepresenter was workshop was well-planned and “The 2017.6.18 Gift ofHeather Lawson 63.7 x95.4 cm serigraph onJapanese paper published by Paul M.Conway/artsandbox) 2 Planes,1998 (from, 2 Portfolio Euan Macdonald (b. 1965) 2017.8.3 ofJoyce inmemory Gift oftheartist, Wieland 5.5 cm x1812 painted withacrylic hand sculpted, clay fired to avitrified state, hand 2016 Bloom 1, 2017.8.2 ofJoyce inmemory Gift oftheartist, Wieland 35.6 x17.8 x10.2 cm hand painted withacrylic hand sculpted, clay fired to avitrified state, Root 2,2015 2017.8.1 ofJoyce inmemory Gift oftheartist, Wieland 4.7 cm x2716 hand painted withacrylic hand sculpted, clay-fired to avitrified state, Root 2015 1, 2017.7.2 Ontario150 Commissioned WithFinancial Assistance From onplywood, 213.4acrylic x213.4 cm pulled fromCanoe Lake), 2017 Pool, forTom. (July 8th1917, aWildflower was 2017.7.1.A.B Ontario150 Commissioned WithFinancial Assistance From A: 149.9 x279.4 cm;B:149.9 x185.4 cm chalk pastel onblackpaper (forTom), 2017 Witness, TheNearShore: fromEunuch Tapestries LoganZachari (b. 1980) 2017.6.24 Gift ofHeatherLawson 38.2 x28cm graphite onpaper letterpress printed rectangle andtext, withhanddrawingin (from 27,beginning December , December 1998 1998 at 17:17) A minute of my time(45 consecutive oneminute drawings 2017.6.17 Gift ofHeatherLawson in foursheet: 76.2 x55.9 cm;folded: 38x27.9 cm serigraph ondraftingvellum, printed both sidesandfolded (from A minute of my time(May 4,1998 20:45 – 20:46), 1998 2017.6.11 Gift ofHeatherLawson Mylar envelope: 25.9 x18.5 cm steel (irregular): 24.6 x17.6 cm; acid etched stainlesssteel (from A minute of my time(August 14, 1997 00:10 – 00:11) , 1997 2017.6.5 Gift ofHeatherLawson each photograph: 51x40.6 cm five chromogenicon prints Kodak Endura paper Two Pairs andaPalindrome 2005 , 2017.3 Gift oftheartist installed: 90.1 x61.4 x107 cm (1985.51.12), presented inacustom-made vitrine andadrawingby drawnonit) A.Y.an “X” Jackson packaging, painted metal,folded paper, paperwith seven found items (book,three pieces ofcardboard of Things(A.Y.A Group Jackson), 2012 Micah Lexier (b. 1960) 2017–2018 lAnnual Report Portfolio 3,published byPortfolio Paul M.Conway/artsandbox) 2, published byPortfolio Paul M. Conway/artsandbox) Portfolio 1,published byPortfolio Paul M.Conway/artsandbox)
2017.6.25 Gift ofHeatherLawson 63.5 x95.2 cm serigraph onJapanese paper (published by Paul M.Conway/artsandbox) 2 Planes,1998/1999 (from3, Portfolio 2017.17 Commissioned for of Seven TheGroup Guitar Project by machinistBruce West onneckcustom-designedwatercolour pencil;metalparts (fingerboard); reconstructed stone (harpneckinlay); (back andsides);Ontariomaple(neckbridge); ebony clawEuropeanBear spruce (top); European curly maple Harp archtop/flat top guitarhybrid , 2015/2017 Linda Manzer (b. 1952) McMichael Canadian Collection, Art 2017.2 cotton, 167.6 andMonte Clark Gallery, cm,Giftoftheartist x127 Bottom left:Colleen Heslin(b. 1976), Ms.Pacman, 2015, dye on 2017.10.1 Alison Handford,Gift ofMary McMichael Canadian Collection, Art Milky Way , 1997, stain on routered plywood, 243.8 x350.5 cm, Top left:Paterson Ewen (1925–2002), inthe Chinese Dragons 2017.6.27 Gift ofHeatherLawson 27.9 x35.4 cm chromogenic printonFujiflex paper published by Paul M.Conway/artsandbox) Red BirdPaparazzi, November 1998 (from 3, Portfolio (b.Mitch Robertson 1974) 2017.5 Gift oftheartists 114.3 x152.4 cm digital chromogenic print to It seemstoomucheven sleep effort , 2016 Steve Driscoll (b. 1980) Finn O’Hara (b. incollaboration 1972) with 2017.6.26 Gift ofHeatherLawson sheet: 43.2 x31.9 cm;image:35.6 x25.5 cm serigraph onbuff paper published by Paul M.Conway/artsandbox) Blue Words, December 1998, (from3 Portfolio 2017.6.19 Gift ofHeatherLawson sheet: 37.7 x30.5 cm;image:28.2 x22.6 cm lithograph ongrey paper published by Paul M.Conway/artsandbox) Like toTouch, August 23, 1998 (from2, Portfolio 2017.6.12 Gift ofHeatherLawson 38 x29.2 cm lithograph onbuff paper (from Untitled (Touch—Flow), August 27/28, 1997 Kim Moodie (b. 1951) 2017.6.8 Gift ofHeatherLawson 31.5 cmdiameter x5.1 cm depth powder coated sheetsteel, Plexiglas, LEDlights Not Fragile, 2012 2017.6.7.A .B Gift ofHeatherLawson each print:27.9 x34.4 cm 27.9 x68.8 cm Kodak paper two chromogenicon prints Lady 2001 , 2017.6.6.A .D Gift ofHeatherLawson each print:25.4 x16.7 cm 25.4 x67.2 cm four chromogeniconFujicolor prints Crystal Archive paper Fence 2000 , Piece Kelly Mark (b. 1967) Portfolio 1,published byPortfolio Paul M.Conway/artsandbox)
Acquisitions l Permanent Collection Permanent l Acquisitions 37 on
38 Acquisitions l Permanent Collection 2017.6.28 Gift ofHeatherLawson 28 x44cm lino relief onJapanese paper published by Paul M.Conway/artsandbox) Untitled, December 1998 (from3, Portfolio 2017.6.20 Gift ofHeatherLawson 37.9 x28.5 cm relief letterpress print onpaper published by Paul M.Conway/artsandbox) Folio, 1998 (from 2, Portfolio 2017.6.13 Gift ofHeatherLawson 44.8 x32.4 cm linocut on Japanese paper published by Paul M.Conway/artsandbox) Untitled, 1997(from1 Portfolio Jeannie (1955–2013) Thib
2017.18 Commissioned for of Seven TheGroup Guitar Project truss rod; pinneddovetail neck joint;Rogers tuners burl (end graftandpegheadinlay); bi-flex double-action fingerboard); bone(bridgepinsand saddle); amboyna mahogany (neck);ebony(bodybinding, bridge, and sides,pegheadveneer andbackstrap); tropical clawSitkaBear spruce (top); Mexican cocobolo (back AcousticFlatSteel Top String Guitar, 2015/2016 David Wren (b. 1952) 2017.9 Gift ofMaia-Mari Sutnik, ofMichelLambeth inmemory with hoop: 23.4 cmdiameter ring embroidery cotton onfabric, thread embroidery inwooden From Far “The Shore,” c.1976–1977 Joyce Wieland (1931–1998) 2017.19 Gift ofStephen andHelen Freedhoff 91.4 x6143.2 cm bone andstone withantlerinlay andsinew Woman andChild with Pail andMallet, c.1980 Judas Ullulaq (1937–1999)
2017–2018 lAnnual Report A: 149.9 ×279.4 cm,Commissioned WithFinancial Assistance From Ontario150, McMichael CanadianCollection, Art 2017.7.1.A Zachari Logan (b. 1980), Witness, TheNearShore: fromEunuch Tapestries (forTom), 2017, chalkpastel onblackpaper, —From theartist’s website overlapping motifs.” art-historic beauty, empirical explorations oflandscape and of nature. Thisnarrative shiftengages ideasof “Logan re-wilds hisbodyasaqueer embodiment
Acquisitions l Permanent Collection Permanent l Acquisitions 39 on
40 A Tribute to Our Donors Foundation, McMichael CanadianCollection, Art 2011.1.3 provided withadditional support by theRichardson Gift oftheartist, Ivan Eyre Watch (b. 1935), North , 2010, bronze, 304.8 x177.8 x304.8 cm,
2017–2018 lAnnual Report
extraordinary place to visit. to keep theMcMichaelan ages. Thankyou for helping that engage people ofall coast-to-coast andprograms explore Canada from coast-to- through exhibitions that making andart artists, art, to connect peoplewith generosity makes itpossible and March 31, 2018. Their made betweenApril 1, 2017, for theircontributions the following supporters The McMichaelacknowledges A Tribute to Our Donors Our to Tribute A 41 A Tribute to Our Donors GOVERNMENT SUPPORT Kaitlin Corporation Rosemary Speirs Jennifer Pearlman Province of Ontario Loch Gallery Inc. Carl Spiess Frank Pizzimenti Masters Insurance Limited Gary and Donna Waxman Shawn Porter Ministry of Tourism, Culture and Sport Matcor Matsu Automotive Lisa Pottie and Laurie Bryson Operating and capital grant Mayfair Clubs Companion Laura Rosati Summer Experience Program Stewart McKelvey $2,500 to $4,999 Rose Savage Ontario150 Secretariat Stoney Creek Furniture Anonymous Marnie Schreiber and Ontario150 grant TACC Construction Ltd Alfred Apps Karen Schreiber Jordan Beallor Tracy Simpson Ontario Cultural Attractions Fund $1,000 to $4,999 Shokheen Singh th Barbara Bellissimo The McMichael 50 Anniversary Season Aquila Resources Sunder Singh Debro Inc. Peter Carayiannis and Department of Canadian Heritage Angela Nikolakakos Dr. Michael Weinberg and Museum Assistance Program— Dynamic Funds Dr. Laura Schiffer Fazzari & Partners LLP David Chodikoff Access to Heritage David and Susan Chong Terry L. West LT Custom Furnishings Inc. 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Stewart The Benevity Community Impact Fund Sibel Coskuner Supporter Gordon Currie $50,000 to $99,999 Preferred Suppliers Assante Wealth Management $1,000 to $2,499 Julie Di Lorenzo and Robert Graham Diamond Estates Wines & Spirits Deloitte Harry and Kathryn Angus Barbara Edwards Steam Whistle Brewing Ayumi Bailly George Elliott and Noriko Yui $25,000 to $49,999 Schuyler Bankes and Family Julian and Liviana Fantino A Tribute to Our Donors to A Tribute Hal Jackman Foundation PATRONS CIRCLE Sharon Baptista Susan Finlayson Hatch Ltd Benefactor’s Circle Isabel Bassett and Ernie Eves Gwendolyn R. Goodearle Miller Thomson LLP $25,000+ Maurizio and Isabella Bertani Elizabeth Grace Nashville Developments Inc. The Robert and Signe Nani and Austin Beutel Ronald and Sherry Haynes Robert and Signe McMichael, c. 1973 RBC Foundation McMichael Trust Rudy Bianchi Michael Henry Photo by Council of Forest Industries Scotia Wealth Management Fred and Eleanor Hirshfeld McMichael Canadian Art Collection Archives John and Katia Bianchini Guardian Joan Bismillah Julie Jai $10,000 to $24,999 Mike Keilhauer Active Tire & Auto Centre Inc. $10,000 to $24,999 Rachel Blumenfeld and Eric Pellow Christopher Bredt and Jamie Cameron Dr. Stanislav Kirschbaum Aird & Berlis LLP Christina Bogdanow Charles and Kathryn Brown Sonya Kociper Bazil Developments Inc. Anne Marie Canning Andrew W. and Christine Dunn Alkarim and Madhavi Ladha Canadian Shield Capital Tania Carnegie Rev. Edward J.R. Jackman Christine LeDrew CIBC Doris Chan Anita and Leon Lapidus J. W. and Edith Lorimer The Ralph and Rose Chiodo Family Susan Chant Nancy Coldham Sheri Majdpour Foundation Champion Angela Mancini “…we were consciously David Chong LLP Nella Contardi $7,500 to $9,999 John Crean Pennie Mathers Collins Barrow Toronto LLP Glenda Baker and Sheila Munch Enzo Morini Crowe Soberman LLP Daniel Cusimano envisioning a publicly Joan Bush and Farsad Kiani George and Laura Dark Peter and Belinda Priede Jackman Foundation Alex Carter Harlan Schonfeld and Ruth Mesbur Kleinburg Crown Estates Ian A.C. Dejardin Wayne Lang Neil Devitt Wayne E. Shaw and owned gallery and actively McCarthy Law Ronald Nicksy Marilyn L. Pilkington McMichael Volunteer Committee Robert Dowler Jay Papernick Robert C. Dowsett Wendy Wacko Miller Thompson LLP Janine Purves William and Joyce Wallace planning and collecting for One Ocean Jonathan and Limor Gendler Donald and Gretchen Ross Phillip Gevik Diane and Jonathan Wilson Power Corp Gillian Stovel Rivers RBC Kim Good $100 to $499 it, convinced that [it would] Michael Taglieri David J. Grace Rotary Club of Kleinburg, Dean Taylor Jeffrey and Brenda Abrams Nobleton, Schomberg Susan Hodkinson Arax Acemyan Tina Tehranchian and Ani Hotoyan-Joly and Michael Joly would one day blossom into TD Bank Group Shahdad Bekhrad Mary Anne Aceto and Jimmy Moro The City of Vaughan Xi-Ping Huang Rouben Roy Alastair and Patricia Rickard The Leonard and Gabryela Osin Director Dr. Bill Johnston Clive and Blair Allen a distinctively Canadian Foundation $5,000 to $7,499 Geoffrey and Lorraine Joyner Gail and Martin Aller-Stead Turtle Creek Asset Management John and Jane Kean Eric Amos and Shawna Robinson Estate of Dr. Michael Braudo Jane Knop Waddington’s Mark Bursey and Jane Wells Jim Armstrong and Janet Clark sanctuary that could be John and Mary Kot Virginia Atkins Dennis and Josie Domazet Esther Lee $5,000 to $9,999 Robert Dunigan and Ellen and William Austin AMR LLP Dianne Lister Robert McDonald Michael and Naomi Babineau enjoyed by all.” Armland Management Inc. Rand and Lynda Lomas Pat Feheley and Paul Costello Kathy Babin-Niven Assured Auto Shirin Mandani Bonnie Hurvitz Josef Balazic Cantrav Services Inc TBK Martin Greg Latremoille Larry Banack Capgemini Nathalie Mercure and Doug McDonald and Sandra Roberts Wray Barraclough Cidel Asset Management Michael Matheson Liann Pincott Diana and Rick Basciano Coleford Investment Management Kathryn Minard —Robert McMichael, One Man’s Obsession John and Joyce Price Gloria Baxter and Gary Hamasaki Heffel Gallery Limited Laura Mirabella (Scarborough, ON: Prentice-Hall Canada Inc., 1986), 148. Judy and John Rumble Pauline Jennifer G. Bell Italian Canadian Savings & Credit Union Robert Munroe John Silverthorn Alice Benlolo and Yoram Rostas Mickey Palha and Carlos Alvarez Nancy and Gaetano Bertoldi 42 2017–2018 l Annual Report 43 on on 44 A Tribute to Our Donors Brenda HillandJohn Ostrander Denis Hengand JulieTome Joyce HendyandRonald Taylor Anthony andGailHendrie Gerald andReeva Heasman Joan Harrison Ralph Harding andJulie Lautens Carol Gray Jeanne Gould Paul GoldhamerandMichelleFarine Dorothea Godt Marilyn andDavid Gluskin Kevin Gazley Neil Garscadden Darko Gagro andGloriaVujeva Gunter andLeila Gad Mimi Fullerton Paula Frisch andIrving Susan Friedman andOmar Salas Lawrence Freedman and Marcia Frank andShep Siegel David Foster Flannagan andAlDavis Mary Fish Barton Judith Fink Lynda Farrow andJanetEvansBob Mercy Espinosa andPeter Moon John andDinahEmery Christina Eaton Ross Earnshaw Diana DunlapandPaul Duckett Ginette Dumont-Silk Joseph Dubrofsky andAngela Field Stephen andBlimaDreezer David Dorsch Erika Dippo Ernesto DeCiccio Julia D’Amato Kevin andOdessa Dalton Abdallah Daar Denise DaRos-Presutti and Lois I.Cullis Barbara andIan Crysler Susan Crawford andChris CoutureGerry Janet Costello Philip Costain John andLinaCorelli Lucia andNicholasConsiglio Suzanne Clement Carolyn Clarkson andTed Coker William andCathy Chow Victor Chen andShirley Wong Ellen Chang-Richardson Diane andCara Celotti Philip andAnda Carter Jane andKen Campbell Paul andBarbara Cameron Frederick andJillCain Karen Butler Simon Burke andMagrelys Rodriguez Bryck andReneeGary Barrette Edward M.Bridge Constance Bredt Staunton Bowen Lorraine Boucher and Leonard Bosschart Katharine andKenneth Bocking Susan Birkenshaw-Keith and Craig BinningandKatherine Roos Michel Bigue Susan andDavidBiensch Elaine Young Michael Presutti Amanda Maund Michael Keith Julie Schatz andLynnJulie Schatz McCarty Deborah Schaefer andDan Brown Morris-Sartz andMallory John Sartz Jenny Sardone Nancy andMilletSalter Michael andNancy Ross Brian andBeatrice Ross Ettan andNatasha Romm Richard Robinson and Brian andMarion Richardson John andPat Reynolds andCeliaRobert Rasmussen ofStefanoIn Memory Pulce Ken andCarol Pritzker Leo A.Prendergast andLynn Belfry andAnn PosenGary C. Pletch John andMaire Percy Jarmila Pencikova andJosef Kursky Patti Pelletier andRickHackett Helen andPamela Paul Penny Pattinson andKathyGary Parkinson Christopher Palin and Anna Pace Pervin and Barry Michael andAdele Ostfield Antony andGailNield Petra andLionelNewton Jeff andJanetMullin Joseph M.Mulder Gordon Muir Murray D. Morton Leighton Morgan Lynda Moore andShirley McVey andSusanDerry Millar Malcolm Mercer Matthew andMoiraMcQueen Patricia McMahon and Rosemary andShaun McKaigue Peter andJaneMcFarlane Nancy andJohn McFadyen Eugene andGinette McCallen P. Mateas Sabi andAmrin Marwah Christina Magill andJoshua Coles Kenneth Lund andMary Barbara Lounsbery Marjorie andDonLenz Michael Ledgett Samuel Lapidus Sue Lancione Michael LaineandConstance Boldt Yuri AlanKula andCynthia Ridge Alan andPatricia Koval Kathryn Kotris Katherine Kilty Myrla Kilburn KennStuart Dixie Kee Joan andJay Kaufman Mima Kapches Fred Kaethler and Gerda Kaegi Seona Jennings Paul andTricia Jemison Patricia andThomasJames Ozan Isinak Joseph andGerd Hulshof Christine Hughes David Howell HoweRobert Philip andJoanna Holliday Pauline McKitty-Robinson Susan Middleton Kevin Ackhurst Esther Epp-Kaethler Judy andDonMacDonald Patricia InnesandPaul Gamble Charles Hill Whisked Gluten-Free Bakery Via Allegro Ristorante Seventh Heaven Event Catering Shoel Rosenhek Mark Rosenhek Presidential Gourmet Pizzaville One Ocean On TheMove ACatering Old Firehall Confectionary Nespresso Last Straw Distillery John Vince Foods JACK Paul Gamble Fortinos Store #55 Food Experia Encore Catering Direct Interiors Daniel etCatering & Events Cheese Boutique Canada Mott’s Dry Big Cannoli Aura by Cashew & Clive Air Canada Maia-Mari Sutnik Finn O’Hara Zachari Logan Micah Lexier Heather Lawson Colleen HeslinandMonte Clark Gallery Alison HandfordMary Stephen andHelenFreedhoff Steve Driscoll Jack Bush, Jr., andElaineBell Andy andDorothy Zajac Chok Ching andJuneYee Roger Yachetti Douglas Worsley andCarole Doane Jim Wooller Donnelly andMarta David Wong andJunLi Murray Witiuk andMary Wendy Wingfelder andPeter Koetsier Paul andCharlene Wildridge Stephen Watt Patricia Vicari Philip Turk Margaret E.Tugman Sylvia Tseng Rosemary Tomlinson-Morris and Judith andHarvey Tenenbaum Gail andAllanTeachman Joy R. Takahashi Maia-Mari Sutnik Brent Stuart Reinhold andMargaret Stroeter Richard andBarbara Stephens Carol Stanley Jeremy Smith Seul-JackleinFlora andJuliaJacklein Diana Scoville andBrian Donnelly JaneScottDonald andMary Lisa Schneider Peter andGundy Schloen AND ARCHIVE DONORS IN-KIND LIBRARY IN-KIND DONORS ART DONORS & Events Company Martin TomlinsonMartin
2017–2018 lAnnual Report
Chair, McMichaelMoonlightGala2017 —Tina Tehranchian oftheMcMichael.” the history successful fundraising gala in Moonlight 2017 themost Gala This makes theMcMichael to thrive. that theMcMichaelcontinues total over $655,000 to ensure and volunteers, we raised in committee, theMcMichaelstaff of our volunteer efforts attendees, andthetireless of our sponsors, over 700 thegenerous support “With Gala 2017 McMichael Moonlight
A Tribute to Our Donors Our to Tribute A 45 Financial Summaries and Statements
Board of Trustees McMichael Honorary Staff April 1, 2017 – March 31, 2018 Council Directors Chair Harry G. Angus Mary Benvenuto, Director, Finance Andrew W. Dunn John F. Bankes and Operations June 20, 2012 - August 23, 2019 H. Michael Burns Ian A.C. Dejardin, Executive Director Chair since April, 2016 Jamie Cameron Nick Foglia, Director, Communications, Jan Dymond Marketing, and Sales Trustees Dr. Esther Farlinger, O.Ont Lisa Pottie, Director, Development Joan Bush Patrick Gossage and Donor Relations February 1, 2013 – March 31, 2020 David J. Grace Dr. Sarah Stanners, Director, Curatorial Neil Harris and Collections John Crean Rev. Edward J.R. Jackman February 10, 2016 – February 9, 2019 Hon. Henry N.R. Jackman, O.Ont, O.C. Executive Office Giuseppina D’Agostino Michael W. Johnston Susan Tesi, Executive Assistant February 2, 2017 – February 1, 2020 Noreen Taylor Anthony Webb George Dark Collections and Exhibitions February 1, 2017 – January 31, 2020 Wenda Yenson Janine Butler, Head of Collections/ Registrar Jane Knop Alex Cousins, Image Asset and February 15, 2017 – February 14, 2020 McMichael Volunteer Publications Coordinator Anita Lapidus Committee Alison Douglas, Conservator February 20, 2013 – December 6, 2019 Anita Adamek Lorena Jurdana, Head Preparator Carole Ahmad Linda Morita, Librarian/Archivist Dianne Lister Ani K. Akgulian Harry Punno, Carpenter/Preparator May 31, 2017 – May 30, 2020 Aline Akoulian Jennifer Withrow, Exhibition Manager Doug McDonald Meriam Baraki Ki-in Wong, Assistant Registrar August 31, 2017 – August 30, 2020 Rita Boustany (maternity leave) June Buick Nathalie Mercure Charlotte Burstyn Development Services November 15, 2017 – November 14, 2020 Joseph Cox Cara Colavecchia, Development Laura Mirabella Jane Davidson, Treasurer Coordinator May 10, 2017 – May 9, 2020 Shelley DePalma, Member Records Kim Good, Associate Director, Karolina Ficek Partnerships John Silverthorn Judy Fink Mickey Palha, Associate Director, March 22, 2017 – March 21, 2020 Andrew Gemmell Individual Giving Michael Weinberg Marianne Gorecki Maria Schmidt, Membership Services November 23, 2016 – November 22, 2019 Bruna Graci Associate Pearl Graziano Gillian Whitebread Human Resources Sylvia Gruber Jenny Donnell, Manager March 21, 2018 – March 20, 2021 Lynne Gunn, Gallery Tour Docent Liaison Brenda Hanson Ex Officio Katy Hess Finance Ian A.C. Dejardin, Executive Director Teresa Grima, Accounting and Payroll John Holding Coordinator Mary Hookey, Past President Directors-in-Training Mary Iafrate Patrick Byam Sylvia Ihnatowycz Communications, Marketing, Michael Henry Margaret Jones and Sales Clio Straram Jeannette Keir, School Programs Jane Cathers, Manager, Retail Sales Docent Liaison Kristina Hortik, Supervisor, Retail Sales Guests Alexa Kinney Harriet Lye, Manager, Digital Content Asaf Khan Nina Knezevik and Social Media (maternity leave) Rand Lomas Rachel Levin Amanda Pignotti, Marketing Coordinator Paula Mattiassi Angela Poletto, Manager, Sales Stella Mazzuca Shalini Saini, Manager, Marketing McMichael Canadian Joan McKinney Daniela Travierso-Galati, Media Art Foundation Anna Micelotta Relations and Communications Jordan Beallor Barbara Mochalski Coordinator Rudy Bianchi Catherine Moffat Rachel Blumenfeld Alicia Morano, Information Operations Christopher Bredt Technology Chair Pedro de Jesus, Custodian Mark Bursey, Vice-Chair Gabriella Morreala, Recruitment Chair Danielle Del Col, Event Logistics Doris Chan Rachel Murad Coordinator Dennis Domazet Jane Nichols Ron Fischer, Manager, Facilities Robert Dunigan Loris Ortolan, Autumn Art Sale Co-Chair Sheri Guevara-Mann, Manager, Andrew W. Dunn Lina Price Operations Judy Ryan, Archives Chair Dariusz Kawecki, Building Maintenance Board/Foundation/Council/Volunteers/Staff Bonnie Hurvitz Paul Manias Christine Sawczak John Kohne, Grounds Maintenance Michèle McCarthy Sheena Simons, President Stephen Kuin, Grounds and Building Doug McDonald, Chair Geoffrey Simpson Maintenance Liann Pincott Lawrena Soh Brandon Reynolds, Technical Support Carl Spiess Risa Solomon Analyst Stephen Watt Denny Starritt Sandra Strickland Creative Learning and Programs Karen Switzer Christina Kerr, Program Development Joy Takahashi Coordinator Lynne Talbot Lorraine Matheson, Manager, Creative Hendrina Tomas Learning (maternity leave) Ding Tsuji Anna Stanisz, Associate Director, Zina Vesterman Creative Learning and Programs Elizabeth Wagle Patricia Watson, Placement Chair Miriam Webb Alexandra Weber Jennifer Wright
46 2017–2018 l Annual Report 47 Annual Revenue and Expenses Summary Revenue 3% 3% 2017/2018 2016/2017 2015/2016 Government support 4,068,152 39% Admission fees 971,068 9% Visitors 20% Contributed revenue 1,213,370 12% and memberships General 83,930 64,972 67,161 39% Creative Programs fees 268,038 3% Adult Groups 3,402 2,340 2,103 Retail sales 1,215,694 12% School Groups 31,068 28,637 27,411 Amortization of deferred 2,038,522 20% 12% contributions related to Total 118,400 95,949 96,675 capital assets
3% Gifts in kinds 331,670 3% Membership 12% 9% Other revenue 268,231 3% Individual Members 7,158 7,051 6,723 Memberships 4,526 4,511 4,516
Exhibitions On Display from the 5 5 7 McMichael Collection The McMichael Special Exhibitions 5 5 4 achieved its highest Toured 1 attendance record Total 11 10 11 2017/18 2016/17 2015/16 2014/15 in 10 years Acquisitions 9,067,320 9,138,412 9,352,797 10,374,745 Total 49 84 239
During Fiscal 2018, the McMichael Conservation continued to deliver on its inititative of improving its financial Major Treatments 2 3 0 sustainability Expenses Minor Treatments 185 187 123 ______Examinations 1,262 660 1,561 Building Operation 2,695,563 26% and Administration Collections Management Revenue derived from attendance Fundraising, Donors, and 801,597 8% Membership Cultivation Number of works increased by 14% over prior year 122 992 1,924 ______Admission and Retail 1,827,238 18% receiving new images Exhibitions and 1,615,029 16% Rehoused and/or Collections Management 1,374 162 335 Ratio of ongoing government Inventoried Creative Programs 655,258 6% support to total operating budget and Education Volunteers
Annual Revenue and Expenses Summary and Expenses Revenue Annual decreased to 32%, compared to Special Projects 399,475 4% Volunteers—General 28 36 42 36% in prior year Amortization and loss on 2,038,522 20% disposal of capital assets Volunteers—Docents 27 31 28 Gifts in Kind 331,670 3% Volunteers—Youth team 35 30 30 3% Volunteers—Board of Trustees 18 12 12 (including Directors-in-Training) 20% 26% Volunteers—Foundation 15 9 5
Staff 4% Full-time 37 36 40 8% 6% Part-time 61 59 77 Total 98 95 117 16% 2017/18 2016/17 2015/16 18% 2014/15 FTE 67 64 71.6 9,198,592 9,053,065 9,508,593 10,364,350
48 2017–2018 l Annual Report 49 on
KPMG LLP Vaughan Metropolitan Centre 100 New Park Place, Suite 1400 Vaughan ON L4K 0J3 Canada Tel 905-265-5900 Fax 905-265-6390
Financial Statements of INDEPENDENT AUDITORS' REPORT
To the Board of Trustees of McMichael Canadian Art Collection McMICHAEL CANADIAN and the Ontario Ministry of Tourism, Culture and Sport We have audited the accompanying financial statements of McMichael Canadian Art ART COLLECTION Collection, which comprise the statement of financial position as at March 31, 2018, the statements of operations, changes in net assets and cash flows for the year then ended, and notes, comprising a summary of significant accounting policies and other explanatory information. Year ended March 31, 2018 Management's Responsibility for the Financial Statements Management is responsible for the preparation and fair presentation of these financial statements in accordance with Canadian public sector accounting standards, and for such internal control as management determines is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error. Auditors' Responsibility Our responsibility is to express an opinion on these financial statements based on our audit. We conducted our audit in accordance with Canadian generally accepted auditing standards. Those standards require that we comply with ethical requirements and plan and perform the audit to obtain reasonable assurance about whether the financial statements are free from material misstatement. An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements. The procedures selected depend on our judgment, including the assessment of the risks of material misstatement of the financial statements, whether due to fraud or error. In making those risk assessments, we consider internal control relevant to the entity's preparation and fair presentation of the financial statements in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity's internal control. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by management, as well as evaluating the overall presentation of the financial statements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our qualified audit opinion.
KPMG LLP, is a Canadian limited liability partnership and a member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative (“KPMG International”), a Swiss entity. KPMG Canada provides services to KPMG LLP.
50 2017–2018 l Annual Report 51
McMICHAEL CANADIAN ART COLLECTION Statement of Financial Position
March 31, 2018, with comparative information for 2017
2018 2017 Assets
Current assets:
Cash and cash equivalents $ 1,309,095 $ 756,031 Page 2 Restricted cash (note 2) 1,627,272 3,375,424 Accounts receivable and accrued interest 186,934 219,156 Grants receivable 240,962 70,725 Inventory - gallery shop goods (note 11) 356,570 372,237 Prepaid expenses and deposits 112,930 443,031 Basis for Qualified Opinion Due from McMichael Canadian Art Foundation 33,768 299,855 3,867,531 5,536,459 In common with many not-for-profit organizations, McMichael Canadian Art Collection derives revenue from fundraising activities, the completeness of which is not Capital assets (note 3) 9,767,171 9,549,950 susceptible to satisfactory audit verification. Accordingly, verification of donations and sponsorships revenue was limited to the amounts recorded in the records of $ 13,634,702 $ 15,086,409 McMichael Canadian Art Collection. Therefore, we were not able to determine whether, as at and for the years ended March 31, 2018 and March 31, 2017, any adjustments might be necessary to donations and sponsorships revenue and excess Liabilities, Deferred Contributions and Net Assets (deficiency) of revenue over expenses reported in the statements of operations, excess (deficiency) of revenue over expenses reported in the statements of cash Current liabilities: flows and current assets and unrestricted net assets reported in the statements of Accounts payable and accrued liabilities (note 4) $ 822,716 $ 1,040,605 financial position. This caused us to qualify our audit opinion on the financial Employee future benefits (note 5) 46,000 46,000 statements as at and for the year ended March 31, 2017. Unearned revenue 197,778 232,022 1,066,494 1,318,627 Qualified Opinion In our opinion, except for the possible effects of the matter described in the Basis for Deferred contributions (note 6): Qualified Opinion paragraph, the financial statements present fairly, in all material Expenses of future periods 175,422 577,250 respects, the financial position of McMichael Canadian Art Collection as at March 31, Capital assets 11,459,984 12,268,125 2018, and its results of operations, its changes in net assets and its cash flows for the 11,635,406 12,845,375 year then ended in accordance with Canadian public sector accounting standards. Net assets: Internally restricted (note 7) 725,000 725,000 Unrestricted 207,802 197,407 932,802 922,407
$ 13,634,702 $ 15,086,409
Chartered Professional Accountants, Licensed Public Accountants See accompanying notes to financial statements. June 13, 2018 Vaughan, Canada On behalf of the Board:
Trustee
Trustee
1
52 2017–2018 l Annual Report 53
McMICHAEL CANADIAN ART COLLECTION McMICHAEL CANADIAN ART COLLECTION Statement of Operations Statement of Changes in Net Assets
Year ended March 31, 2018, with comparative information for 2017 Year ended March 31, 2018, with comparative information for 2017
2018 2017 2018 2017 Internally Revenue: restricted Unrestricted Total Total Province of Ontario: (note 7) Operating grant $ 3,328,800 $ 3,328,800 Designated programs (note 6(a)) 460,011 150,950 Balance, beginning of year $ 725,000 $ 197,407 $ 922,407 $ 1,078,203 3,788,811 3,479,750
Government of Canada: Excess (deficiency) of Designated programs (note 6(a)) 279,341 180,094 revenue over expenses – 10,395 10,395 (155,796)
Amortization of deferred contributions Balance, end of year $ 725,000 $ 207,802 $ 932,802 $ 922,407 related to capital assets (note 6(b)) 2,038,522 1,810,682
Internally generated: See accompanying notes to financial statements. Retail operations (note 11) 909,194 697,760 Admissions 736,984 562,206 Special events 654,772 498,035 Programs/education 491,693 437,062 Gifts in kind 331,670 479,184 Transfer from McMichael Canadian Art Foundation (note 9) 325,000 585,568 Food services, facility rentals and catering 306,500 220,728 Collections/exhibitions 219,330 96,038 Memberships 213,598 207,237 Interest 48,167 38,677 Donations and sponsorships 20,000 50,000 Miscellaneous 11,163 9,776 4,268,071 3,882,271 10,374,745 9,352,797
Expenses: Salaries, wages and benefits (notes 5 and 8) 3,836,723 3,658,157 Amortization of capital assets (note 3) 2,002,404 1,785,181 Facility operation and security 832,705 822,007 Curatorial and exhibitions 780,766 546,074 Marketing and promotion 618,480 441,522 Cost of sales (note 11) 437,978 366,135 Special projects 365,151 66,667 Administration 348,338 622,133 Gifts in kind 331,670 479,184 Membership and fundraising 321,119 293,407 Programs and education 172,167 95,309 Collection management 147,791 207,570 Services, supplies and selling costs 98,616 76,078 Loss on disposal of capital assets (note 3) 36,118 25,501 Designated programs 34,324 15,182 Acquisition of works of art – 8,486 10,364,350 9,508,593
Excess (deficiency) of revenue over expenses $ 10,395 $ (155,796)
See accompanying notes to financial statements.
2 3
54 2017–2018 l Annual Report 55
McMICHAEL CANADIAN ART COLLECTION McMICHAEL CANADIAN ART COLLECTION Statement of Cash Flows Notes to Financial Statements
Year ended March 31, 2018, with comparative information for 2017 Year ended March 31, 2018
2018 2017
Cash provided by (used in): The McMichael Canadian Art Collection (the "Organization") is an agency of the Government of
Operating activities: Ontario assisted through the Ontario Ministry of Tourism, Culture and Sport. The institution was Excess (deficiency) of revenue over expenses $ 10,395 $ (155,796) donated to the province in 1965 and legislation, in 1972, incorporated the gallery as a non-profit Items not involving cash: organization. The Organization is a crown agency under the Income Tax Act (Canada) and, Amortization of capital assets 2,002,404 1,785,181 accordingly, is exempt from income taxes provided certain requirements of the Income Tax Act Amortization of deferred contributions related (Canada) are met. The Organization's ability to continue as a going concern is dependent upon to capital assets (2,038,522) (1,810,682) Loss on disposal of capital assets 36,118 25,501 ongoing government support and the continued support of its patrons. Change in non-cash operating working capital 256,707 81,707 Net increase (decrease) in deferred contributions related to expenses of future periods (401,828) 377,504 1. Significant accounting policies: (134,726) 303,415 The financial statements have been prepared by management in accordance with Canadian Financing and investing activities: public sector accounting standards, including the 4200 standards for government not-for-profit Increase in deferred contributions related organizations. to capital assets 1,195,381 1,755,100 Capital assets acquired (2,255,743) (1,014,137) Decrease (increase) in restricted cash 1,748,152 (1,244,194) (a) Revenue recognition: 687,790 (503,231)
The Organization follows the deferral method of accounting for contributions, which Increase (decrease) in cash and cash equivalents 553,064 (199,816) includes donations and government grants. Cash and cash equivalents, beginning of year 756,031 955,847 The Organization is funded in part by the Government of Ontario in accordance with budget Cash and cash equivalents, end of year $ 1,309,095 $ 756,031 arrangements established by the Ontario Ministry of Tourism, Culture and Sport. Operating grants are recorded as revenue in the period to which they relate. Grants approved but not See accompanying notes to financial statements. received at the end of an accounting period are accrued. Where a portion of a grant relates to a future period, it is deferred and recognized in the subsequent period.
Unrestricted contributions are recognized as revenue when received or receivable if the amount to be received can be reasonably estimated and collection is reasonably assured.
Externally restricted contributions other than endowment contributions are recognized as revenue in the year in which the related expenses are recognized.
Contributions restricted for the purchase of capital assets are deferred and amortized into revenue on a straight-line basis at a rate corresponding with the amortization rate for the related capital assets.
Revenue from fees and sales is recognized when the services are provided or the goods are sold.
4 5
56 2017–2018 l Annual Report 57 McMICHAEL CANADIAN ART COLLECTION McMICHAEL CANADIAN ART COLLECTION Notes to Financial Statements (continued) Notes to Financial Statements (continued)
Year ended March 31, 2018 Year ended March 31, 2018
1. Significant accounting policies (continued): 1. Significant accounting policies (continued):
(b) Unearned revenue: (g) Collection:
Unearned revenue consists of membership fees and other fees received in the current year The Organization's collection includes a significant number of works of art created by First related to activities of future periods. Nations, Inuit and Metis artists, the artists of the Group of Seven and their contemporaries, and other artists who have made a contribution to the development of Canadian art. (c) Contributed services and goods: The collection's value, in accordance with public sector accounting standards, is not Gifts in kind received by the Organization, for which fair value can be reasonably recognized or reflected in the statement of financial position. Most of the works of art in the determined and which are used in the normal course of the Organization's operations, are collection have been donated to the Organization and are not recorded in these financial recognized in the financial statements as revenue and expense in the statement of statements. Works of art acquired are expensed in the year of purchase. operations. (h) Employee future benefits: (d) Cash and cash equivalents: The Organization provides defined retirement benefits and compensated absences to Cash and cash equivalents include cash on account and investments in money market substantially all its permanent employees. These future benefits include pension and sick instruments. leave.
(e) Inventory: The pension benefits are further described in note 8.
Consumables in the gallery shop are valued at the lower of cost, on a first-in, first-out basis, The costs of non-vesting sick leave benefits are determined using management's best and net realizable value. On a periodic basis, management assesses the likelihood of estimate of salary escalation, employees' use of entitlement, and discount rates. realizing future benefits of its inventory and, when considered necessary, writes it down to Adjustments to these costs arising from changes in assumptions and/or experience are its estimated net realizable value. recognized in the years that they arise.
(f) Capital assets: (i) Financial instruments:
Purchased capital assets are recorded at cost. Contributed capital assets are recorded at Financial instruments are recorded at fair value on initial recognition and subsequently fair value at the date of contribution. Repairs and maintenance costs are charged to carried at cost or amortized cost, less any impairment losses on financial assets. All expense. Betterments which extend the estimated life of an asset are capitalized. When a financial assets are assessed for impairment on an annual basis. When a decline is capital asset no longer contributes to the Organization's ability to provide services, its determined to be other than temporary, the amount of the loss is reported in the statement carrying amount is written down to its residual value. of operations.
Capital assets are amortized on a straight-line basis using the following annual rates:
Building 2.5% Equipment 33.0% Landscaping infrastructure 8.3% Information technology and building systems 10.0%
6 7
58 2017–2018 l Annual Report 59 McMICHAEL CANADIAN ART COLLECTION McMICHAEL CANADIAN ART COLLECTION Notes to Financial Statements (continued) Notes to Financial Statements (continued)
Year ended March 31, 2018 Year ended March 31, 2018
1. Significant accounting policies (continued): 3. Capital assets (continued):
(j) Use of estimates: The change in capital assets is calculated as follows:
The preparation of financial statements requires management to make estimates and 2018 2017 assumptions that affect the reported amounts of assets and liabilities and disclosure of contingent assets and liabilities at the date of the financial statements and the reported Capital assets acquired $ 2,255,743 $ 1,014,137 amounts of revenue and expenses during the year. Actual results could differ from those Amortization of capital assets (2,002,404) (1,785,181) estimates. Loss on disposal of capital assets (36,118) (25,501)
$ 217,221 $ (796,545) 2. Restricted cash:
Restricted cash represents deferred contributions received for expenses of future periods and 4. Accounts payable and accrued liabilities: unspent capital contributions as follows: There are no government remittances payable as at March 31, 2018 (2017- nil). 2018 2017
Expenses of future periods $ 131,382 $ 657,250 5. Employee future benefits: Unspent capital contributions (note 6(b)) 1,495,890 2,718,174 The employee future benefits liability, reported on the statement of financial position, is made $ 1,627,272 $ 3,375,424 up of sick leave benefits as follows:
3. Capital assets: 2018 2017
Accumulated sick leave benefits $ 46,000 $ 46,000 2018 2017 Accumulated Net book Net book Cost amortization value value Information about the Organization's sick leave plan is as follows:
Land $ 35,000 $ – $ 35,000 $ 35,000 Building 27,071,844 20,308,339 6,763,505 7,195,638 2018 2017 Equipment 2,507,449 2,457,166 50,283 34,847 Landscaping Accrued benefit obligation: infrastructure 4,283,696 2,041,670 2,242,026 1,509,776 Balance, beginning of year $ 46,000 $ 46,000 Information technology and building systems 1,180,417 504,060 676,357 774,689 Liability for benefits $ 46,000 $ 46,000
$ 35,078,406 $ 25,311,235 $ 9,767,171 $ 9,549,950 The accumulated sick leave benefits accrued represent management's best estimate of the liability based on historical use of banked sick days.
8 9
60 2017–2018 l Annual Report 61 McMICHAEL CANADIAN ART COLLECTION McMICHAEL CANADIAN ART COLLECTION Notes to Financial Statements (continued) Notes to Financial Statements (continued)
Year ended March 31, 2018 Year ended March 31, 2018
6. Deferred contributions: 7. Internally restricted funds:
(a) Expenses of future periods: During 2008, the Board of Trustees resolved to internally restrict an amount of $500,000 for use in designated future operating projects. During 2013, the Board of Trustees resolved to Deferred contributions represent grants and donations for specific programs relating to internally restrict a further amount of $400,000 for use in the next three years (2014 - $175,000; future periods. 2015 - $125,000; 2016 - $100,000) to enhance the capacity of the development function of the gallery. 2018 2017 During 2014, the Board of Trustees further resolved to approve the amount to be transferred to Balance, beginning of year $ 577,250 $ 199,746 unrestricted net assets each year based on the activities undertaken to enhance the capacity of Contributions received or receivable 347,952 716,048 the development function in that year. Amounts recognized as revenue: Province of Ontario (460,011) (150,950) Government of Canada (279,341) (180,094) 8. Pension plan: Other (10,428) (7,500)
Balance, end of year $ 175,422 $ 577,250 The Organization provides pension benefits for substantially all its permanent employees through participation in the Ontario Municipal Employees Retirement System ("OMERS"), which is a multi-employer plan. The plan is a defined benefit plan which specifies the amount of (b) Capital assets: retirement benefits based on length of service and rates of pay.
Deferred capital asset contributions represent the unamortized amount of donations and During the year, the Organization contributed $265,978 (2017 - $239,296) to the OMERS grants received for the purchase of capital assets. The amortization of capital asset Pension Plan representing 9% (2017 - 9%) of annual earnings, per employee, up to the contributions is recorded as revenue in the statement of operations. Canada Pension Plan ("CPP") earning limit ($51,400) and 14.6% (2017 - 14.6%) of earnings in excess of the CPP earning limit. This amount is expensed in the statement of operations. 2018 2017
Balance, beginning of year $ 12,268,125 $ 12,277,978 9. Related entity: Contributions received or receivable 1,195,381 1,755,100 Transfer from unearned revenue 35,000 45,729 Amounts amortized to revenue (2,038,522) (1,810,682) The McMichael Canadian Art Foundation (the "Foundation") incorporated in 1995, was certified for continuance under the Canada Not-for-profit Corporations Act in 2014, and is a public Balance, end of year $ 11,459,984 $ 12,268,125 foundation under the Income Tax Act (Canada). While the Foundation is a separate legal entity, it was created to raise funds to support the Organization. The Organization exercises The balance of contributions received or receivable and not yet used to purchase capital significant influence over the Foundation by virtue of its ability to appoint some of the assets at the end of the year is $1,692,812 (2017 - $2,718,174). Foundation’s members of the Board of Directors.
As at April 1, 2014, all monetary donations are recorded as contributed revenue by the Foundation. The Foundation will transfer to the Organization an amount from contributed revenue as required for the Organization's operating purpose and as approved by the Foundation's Board of Directors.
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62 2017–2018 l Annual Report 63 McMICHAEL CANADIAN ART COLLECTION McMICHAEL CANADIAN ART COLLECTION Notes to Financial Statements (continued) Notes to Financial Statements (continued)
Year ended March 31, 2018 Year ended March 31, 2018
9. Related entity (continued): 11. Retail operations - gallery shop:
During 2018, the Foundation recorded $410,509 (2017 - $435,568) as contributed revenue and 2018 2017 transferred $275,000 (2017 - $435,568) to the Organization for operating purposes. In addition, the Foundation transferred $50,000 (2017 - $150,000) from its reserves in support of the Sales $ 909,194 $ 697,760 Organization's operating and capital projects. Cost of sales: Inventory, beginning of year 372,237 290,546 Net unrestricted assets of the Foundation amounting to $408,050 (2017 - $259,155) are for the Purchases 422,311 447,826 benefit of the Organization. The Foundation also holds $6,999,963 (2017 - $6,776,776) of 794,548 738,372 designated funds for the Organization. Gross inventory, end of year 361,338 381,192 Less write-down of inventory 4,768 8,955 10. Financial risks: Inventory, end of year 356,570 372,237 437,978 366,135
(a) Liquidity risk: Gross profit 471,216 331,625
Liquidity risk is the risk that the Organization will be unable to fulfill its obligations on a Expenses: timely basis or at a reasonable cost. The Organization manages its liquidity risk by Salaries, wages and benefits 190,333 193,181 monitoring its operating requirements. The Organization prepares budget and cash Selling 37,664 32,041 227,997 225,222 forecasts to ensure it has sufficient funds to fulfill its obligations. There has been no
change to the liquidity risk exposure from the prior year. Net earnings $ 243,219 $ 106,403
(b) Credit risk:
The Organization is exposed to credit risk with respect to accounts receivable and accrued interest and grants receivable. The Organization assesses, on a continuous basis, accounts receivable on the basis of amounts it is virtually certain to receive. There have been no significant changes to the credit risk exposure from the prior year.
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64 2017–2018 l Annual Report 65 ISSN 1208–0721 © 2018 McMichael Canadian Art Collection
Une traduction française du Rapport annuel est disponible à la Collection McMichael d’art canadien, Kleinburg, Ontario L0J 1C0
The McMichael Canadian Art Collection is an agency of the Government of Ontario under the Ministry of Tourism, Culture and Sport
10365 Islington Avenue Kleinburg, Ontario L0J 1C0 905.893.1121 • 1.888.213.1121
Cover image: Tom Thomson (1877–1917), Summer Day, 1915, oil on board, 21.6 x 26.8 cm, Gift of Mr. R.A. Laidlaw, McMichael Canadian Art Collection, 1966.15.18