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Summary of the Corporate Plan 2009-2010 to 2013-2014 OPERATING and CAPITAL BUDGETS for 2009-2010 Alliance of Natural History Museums of Canada
SUMMARY OF THE CORPORATE PLAN 2009-2010 TO 2013-2014 OPERATING AND CAPITAL BUDGETS FOR 2009-2010 ALLIANCE OF NATURAL HISTORY MUSEUMS OF CANADA The Alliance of Natural History Museums of Canada is dedicated to the preservation and understanding of Canada’s natural heritage. By working in partnership, the Alliance is able to provide enhanced public programming with national reach, contribute to informed decision making in areas of public policy, and enhance collections planning and development to facilitate public and scientific access to collections information. MEMBERS: Canadian Museum of Nature • Montréal’s Nature Museums New Brunswick Museum • Nova Scotia Museum of Natural History Prince of Wales Northern Heritage Centre • Royal Alberta Museum Royal British Columbia Museum • Royal Ontario Museum • Royal Saskatchewan Museum Royal Tyrrell Museum • The Manitoba Museum • The Rooms, Provincial Museum Division Yukon Beringia Interpretive Centre CANADIAN MUSEUM OF NATURE BOARD OF TRUSTEES CHAIR R. Kenneth Armstrong, O.M.C., Peterborough, Ontario VI C E - C H A I R Dana Hanson, M.D., Fredericton, New Brunswick MEMBERS Lise des Greniers, Granby, Quebec Martin Joanisse, Gatineau, Quebec Teresa MacNeil, O.C., Johnstown, Nova Scotia (until June 18, 2008) Melody McLeod, Yellowknife, Northwest Territories Mark Muise, Yarmouth, Nova Scotia (effective June 18, 2008) Chris Nelson, Ottawa, Ontario Erin Rankin Nash, London, Ontario Harold Robinson, Edmonton, Alberta Henry Tom, Vancouver, British Columbia Jeffrey A. Turner, Manotick, Ontario EXECUTIVE StAFF -
Understanding the Value of Arts & Culture | the AHRC Cultural Value
Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8. -
Fine Arts Policies and Procedures 2017
FINE ARTS POLICIES AND PROCEDURES Executive Summary 1. Introduction 1.1. Mission and Vision Statements 1.1.1. Fine Arts Program Mission 1.1.2. Vision 1.2. Adherence to Ethical Standards 1.3. The Fine Arts Program 1.3.1. Fine Arts Program Within GSA 1.3.2. Responsibilities of the Fine Arts Program 1.3.3. Regional Fine Arts Officers 2. The Collection 2.1. Scope of the Fine Arts Collection 2.2. Description of the Fine Arts Collection 2.3 Asserting Title on New Deal Works 2.4. Accessioning Artworks Into the Fine Arts Collection 2.4.1. Collection Criteria 2.4.2. Art in Architecture Program 2.4.3. Donation of Artwork From Non-Government Sources 2.4.4. Artwork Transferred From Other Federal Agencies 2.4.5. Artwork Accepted Through Building Acquisition 2.4.6. Accessioning Procedure 2.5. Deaccessioning Artworks 2.5.1. Deaccessioning Criteria 2.5.2. Deaccessioning Procedure 3. Use of Artworks 3.1. Public Display 3.1.1. Permanent Installation in GSA-Owned Buildings 3.1.2. Temporary Display in GSA-Owned Buildings 3.1.3. Installation in Leased Properties 3.2. Access 3.2.1. Physical Access 3.2.2. Collection Information 3.3. Loans 3.3.1. Outgoing Loans 3.3.2. Incoming Loans 3.3.3. Loan Procedure 3.3.4. Loans to Tenant Agencies 3.3.5. Insurance 3.4. Relocation of Artworks 3.4.1. Relocation Eligibility 3.4.2. Requesting Relocation 3.4.3. New Location 3.4.4. Funding 1 of 87 3.4.5. -
MURALS Call to Artists Downtown Winter Garden Public Art Mural Pilot Project
Up To $7000 Up To $3000 Up To $8000 MURALS Call To Artists Downtown Winter Garden Public Art Mural Pilot Project The city of Winter Garden is initiating a pilot public mural program in the historic downtown district to build community pride, build a stronger community identity and activate some key streets by bringing pedestrian activity to streets such as Main, Boyd, Joiner and Tremaine Streets. Historically, murals were used to advertise and draw interest to a street or store. Downtown Winter Garden has had some murals over the years, but currently does not have any murals remaining. The City has asked the Winter Garden Art Association to assist in the call for artists and selection process. The city invites qualified artists to submit proposals for up to three murals to be placed on/or painted on the walls at three locations in the Downtown District. The City has allocated up to $7,000 for Site #1 and $3,000 for Site #2 to be paid to each mural artist. The fee to be paid for Site #3 is to be determined based on the # of sections chosen by the artist, not to exceed $8000. Each mural shall be interactive and encourage creative thought and activity. If the applicant wishes to create a mural of higher value, the applicant must make a case to justify it and demonstrate the ability to secure a portion of the additional funds. The installed mural will become the property of the city of Winter Garden. This initiative will be called #wheregoodthingsgrow and/or #acharmingcitywithajuicypast. -
JONATHAN MUNDEN 20503 W 200Th St, Spring Hill, KS 66083 (816) 517-2051 [email protected] @MUNDEN1
JONATHAN MUNDEN 20503 W 200th St, Spring Hill, KS 66083 (816) 517-2051 [email protected] www.MundensArt.com @MUNDEN1 Objective Artist with nearly ten years of related work experience, as well as a portfolio of varied exhibitions and murals that can be found locally and nationwide. Munden has risen to become a leading name in the local KC art community and has recently begun to expand his horizons to out-of-state mural festivals. He has a passion for creating and sharing his art, and flourishes seeing the effect his art has on the surrounding communities. Munden got his start in landscape and spacescape painting through performance art at festivals and art fairs. That experience lead him to create cityscape skyline pieces, as well as some graffiti style works. For the past few years, Munden's focus has remained on large portrait realism and the study of facial forms, expressions, and textures. Relevant Professional Experience Artist (Freelance) • Design, develop, and deliver custom, commissioned art pieces to clients according to their specifications. This includes creating digital or hand-drawn sketches of the proposed work, drawing up a contract, establishing a timeline, and executing the art piece as agreed upon to the client’s satisfaction. • Design and create art pieces to fit into theme-specific exhibitions to be shown in prominent galleries throughout the Crossroads Art District. Exhibitions have previously consisted of themes such as the Mad Hatter, High Fashion Portraits, Expression Portraits, Halloween, and KC Skylines. • Collaborate with other artists with regards to collective murals and art pieces. Examples include creating a custom, collaborative, outdoor art-piece for a client on the Plaza, as well as coordinating the division and allocation of a wall for the Spray See Mo Mural Festival last summer after it had been double-booked. -
Mechanisms for Enhancing the Retirement Income System of Canada
Province of Nova Scotia Department of Finance MECHANISMS FOR ENHANCING THE RETIREMENT INCOME SYSTEM IN CANADA The Government of Nova Scotia is working with other provinces and territories, and the Government of Canada, to consider opportunities for enhancing Canada’s retirement income system. The overall goal is to increase savings from employment income of individuals (i.e. future retirees) who are not currently saving enough to obtain sufficient levels of replacement income to maintain their standard of living in retirement. Finance Ministers have been informed by comprehensive research as well as proposals and comments submitted by numerous interest groups and individuals. Selective reports and research from various jurisdictions can be found at: http://www.gov.ns.ca/lwd/pensionreview/default.asp http://www.fin.gc.ca/activty/pubs/pension/riar-narr-eng.asp http://www.fin.gov.on.ca/en/consultations/pension/dec09report.html The Finance Ministers provided direction at their June 2010 meeting for continuing work in this area. They acknowledged the importance of financial literacy and the central role that the Canada Pension Plan (CPP) plays in our government supported retirement income system. Most Ministers have agreed to consider a modest, phased-in, and fully-funded enhancement to the CPP in order to increase coverage and adequacy. Ministers further agreed to continue to work on pension innovations that would allow financial institutions to offer broad based defined contribution pension plans to multiple employers, all employees, and to the self-employed. Results of further work on technical and implementation issues will be presented at the late Fall 2010 meeting. -
Self-Isolation Requirements in Nova Scotia Revised September 8, 2021
Self-isolation requirements in Nova Scotia Revised September 8, 2021 DOMESTIC TRAVELERS Self-isolation requirements are based on vaccination status and testing for anyone traveling from Canadian provinces and territories outside Nova Scotia, Prince Edward Island and Newfoundland and Labrador. This includes Nova Scotia residents returning to the province. Isolation requirements are as follows: • People who are fully vaccinated do not have to self-isolate but testing is still recommended. • People who are not fully vaccinated must self-isolate for at least 7 days and cannot leave isolation until they get 2 negative tests results. Fully vaccinated means you had two doses of a World Health Organization approved vaccine (or 1 dose of Janssen) at least 14 days before arriving in Nova Scotia. If you received your second dose of vaccine less than 14 days before arriving in Nova Scotia, it does not count toward your vaccination status. Children 18 and younger must follow the isolation requirements for the least vaccinated adult they are traveling with. If the child is more vaccinated than the adult they are traveling with, they should isolate based on their own vaccination status. Children 16 and older can have their own form using the vaccination information of the least vaccinated adult they are traveling with. Younger children should be included on the same form of the least vaccinated adult they are traveling with. Testing for the purposes of ending isolation earlier than 14 days must be done in Nova Scotia, not in advance of arrival. It cannot be a rapid test. It must be a standard PCR lab test which usually takes up to 72 hours to get results. -
Grade 5 Investigating Past Societies
Acknowledgments The Departments of Education acknowledge the work of the social studies consultants and other educators who served on the regional social studies committee. New Brunswick Newfoundland and Labrador John Hildebrand Darryl Fillier Barbara Hillman Prince Edward Island Nova Scotia Bethany Doiron Mary Fedorchuk Laura Ann Noye Bruce Fisher Rick McDonald Jennifer Burke The Departments of Education also acknowledge the contribution of all the educators who served on provincial writing teams and curriculum committees, and who reviewed and/or piloted the curriculum. Table of Contents Introduction ................................................................................................................................................... 1 Background ................................................................................................................................................. 1 Aims of Social Studies ............................................................................................................................... 1 Purpose of Curriculum Guide ................................................................................................................... 2 Guiding Principles ....................................................................................................................................... 2 Program Design and Outcomes ................................................................................................................... 4 Overview ..................................................................................................................................................... -
Canadian Maritimes Nova Scotia | New Brunswick | Prince Edward Island
NO SINGLE SUPPLEMENT SfoMr SAoLloL T GraRvOelUerP s Ma xi mum of LAND 24 Travele rs SMALL GROUP JO URNEY Ma xi mum of 24 Travele rs Canadian Maritimes Nova Scotia | New Brunswick | Prince Edward Island Inspiring Moments > Delight in picture-perfect fishing villages, historic beacons and quiet coves along Nova Scotia’s Lighthouse Route. > Take in sensational ocean vistas on the Cabot Trail, one of Canada’s INCLUDED FEATURES most scenic roads, that hugs Cape Breton Island’s coastline. Accommodations (with baggage handling) Itinerary – 2 nights in Halifax, Nova Scotia, Canada, Day 1 Depart gateway city . Arrive in > Spot whales breaching in the Bay at the Halifax Marriott Harbourfront Hotel, Halifax and transfer to hotel of Fundy, a favorite summer gathering a first-class property. Day 2 Halifax | Lunenburg spot for up to 12 different species. – 2 nights in Saint John, New Brunswick, Day 3 Annapolis Valley | Grand-Pr é > Marvel at the Bay’s mighty tides, the at the first-class Hilton Saint John. National Historic Site | Embark world’s highest, at Hopewell Rocks. – 2 nights in Charlottetown, Prince ferry | Saint John Edward Island, at the first-class Day 4 Saint John | St. Andrews > Immerse yourself in the enchanting Prince Delta Hotels Prince Edward. Day 5 Hopewell Rocks Park | Edward Island settings that inspired the – 2 nights in Baddeck, Nova Scotia, at the Moncton | Charlottetown Anne of Green Gables books. first-class Auberge Gisele’s Inn. Day 6 Prince Edward Island > Delve into the provinces’ enduring bond – 1 night in Halifax at the Halifax Marriott Day 7 Embark ferry | Cape Breton with the sea, from shipbuilding to fishing, Harbourfront Hotel, a first-class property. -
Art Museums and the Public
ART MUSEUMS AND THE PUBLIC Prepared for the International Art Museums Division Smithsonian Institution October 2001 Smithsonian Institution Office of Policy & Analysis Washington, D.C. 20560-0405 Introduction This is one of a series of papers prepared by the Smithsonian's Office of Policy and Analysis to brief members of the Smithsonian Council in advance of their November, 2001 meeting on Smithsonian art museums. Preparation for this paper included interviews with art museum staff, some from inside the Smithsonian and some from outside the Smithsonian. The Activities of Art Museums The official definition of a museum, according to the grant guidelines for the Institute of Museum and Library Services, is: "an organized and permanent nonprofit institution, essentially educational or aesthetic in purpose, with professional staff, which owns and utilizes tangible objects, cares for them, and exhibits them to the public on some regular schedule." The International Council of Museums (ICOM) defines a museum as: "a nonprofit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study education and enjoyment, material evidence of humans and their environment." The American Association of Museums (AAM), however, has altered its official definition to insist only on the use of objects, not on their ownership. To be a museum, in its definition, is to meet the following requirements: • be a legally organized not-for-profit -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
MOVING FORWARD – TOWARDS a STRONGER CANADIAN MUSEUM SECTOR Report of the Standing Committee on Canadian Heritage
MOVING FORWARD – TOWARDS A STRONGER CANADIAN MUSEUM SECTOR Report of the Standing Committee on Canadian Heritage Julie Dabrusin, Chair SEPTEMBER 2018 42nd PARLIAMENT, 1st SESSION Published under the authority of the Speaker of the House of Commons SPEAKER’S PERMISSION The proceedings of the House of Commons and its Committees are hereby made available to provide greater public access. The parliamentary privilege of the House of Commons to control the publication and broadcast of the proceedings of the House of Commons and its Committees is nonetheless reserved. All copyrights therein are also reserved. Reproduction of the proceedings of the House of Commons and its Committees, in whole or in part and in any medium, is hereby permitted provided that the reproduction is accurate and is not presented as official. This permission does not extend to reproduction, distribution or use for commercial purpose of financial gain. Reproduction or use outside this permission or without authorization may be treated as copyright infringement in accordance with the Copyright Act. Authorization may be obtained on written application to the Office of the Speaker of the House of Commons. Reproduction in accordance with this permission does not constitute publication under the authority of the House of Commons. The absolute privilege that applies to the proceedings of the House of Commons does not extend to these permitted reproductions. Where a reproduction includes briefs to a Standing Committee of the House of Commons, authorization for reproduction may be required from the authors in accordance with the Copyright Act. Nothing in this permission abrogates or derogates from the privileges, powers, immunities and rights of the House of Commons and its Committees.