Glenbow Museum Annual Report 2008-2009 Facts & Figures

Attendance Website Statistics General Admissions and Programs 144,442 Total website visitors 476,043* General Admissions 81,612 Average number of website visitors per day 1,304 Member Attendance 9,366 Online membership sales and donations $28,984 Online Archive photography sales $56,426 Highest Weekly Attendance *Glenbow used a different website statistic reporting package in the (Week of February 16-22 during 2008-09 fiscal year which reflects a difference in website visitors Marilyn Monroe: Life as a Legend) 7,813 from previous years.

Library & Archives Programs Mail/phone/email inquiries 3,701 School Programs In person visits 3,687 Chevron Open Minds Museum School (number of students who participated in programs) 757 Volunteers Museum School Programs Delivered 3,670 200,000+ hours contributed by over 200 volunteers School Programs Teacher Workshops Attendance 175 Acquisitions Museum School Teacher Workshops Attendance 45 Gifts Number of number of In-House School Programs Attendance 52,977 DONORS WORKS Value In-House School Programs Delivered 1,793 Art 64 1,123 $3,105,693 Outreach School Programs Attendance 2,319 Indigenous Studies 11 294 501,710 Outreach School Programs Delivered 86 Cultural History 15 59 4,680 Distance Learning Programs 52 Military History 1 1 200 Museokits Loaned 148 Multi-Disciplinary 7 402 13,012 Archives 114 114 68,606 Adult Programs 1,288 Library 60 200 4,265 Family Programs 462 Total Gifts 272 2,193 $3,698,166 Discovery Room Visitors 16,872 Purchases Number of Special Events WORKS Value ”Hosted“ Events 10,620* Art 31 $326,130 *(Includes exhibition openings, special bookings, sponsor events and VIP tours.) Indigenous Studies 2 60,610 Library & Archives 44 387,541 Tours Total Purchases 77 $774,281 Gallery Tours, Behind-the-Scenes and Curatorial Tours 240 Blackfoot & Indigenous Studies Tours 243 Cultural Awareness Training 64

Contents

President’s and Chair’s Message 2; Glenbow in the Community 5; The Generosity of Our Donors 6; From Donation To Exhibition 7; New Acquisitions At Glenbow 10; Accessing the Collection Anytime 13; New Art Galleries 14; Feature Exhibitions 2008–2009 16; Thank You To Our Supporters 20; Credits 24; Financial Review 25 With over one million artifacts and more than 30,000 works of art, the diverse collections of art, history and world cultures make Glenbow the largest museum in Western Canada. Categorized into seven collections: art, Indigenous studies, cultural history, military history, mineralogy, library and archives, our world-class collections position Glenbow as a leading institution in Canada and beyond.

The collections are presented in Discover what happens exhibitions at Glenbow and on loan nationally and internationally. They are a behind-the-scenes to critical tool in our educational programs make the collection for connecting the past with today and the future. So much museum work – accessible and relevant. acquiring and preserving the collections – goes on behind-the-scenes. But this work is critical to ensuring we care for and provide access to the collections for all our visitors in the long term.

With most major museums being able to display between only three to five percent of their collections at any given time, the general public has little knowledge of the acquisition and preservation activities that go on behind- the-scenes. Who donates to the museum? What happens when a new piece is donated? What are some of the new and exciting acquisitions? How are we presenting our collections in new ways? Let Glenbow take you behind- the-scenes to discover some of the recent ways in which we grow and care for the collections to ensure we make them accessible and relevant.

Annual Report 2008-2009 | Glenbow Museum President’s and Chair’s Message

Glenbow has experienced significant change program, adequate increases in resources did not this past year. Staffing and leadership changes, changes immediately follow. This, coupled with the change in to our exhibition program and the economic downturn the world economy, is why we post a record deficit for have all had a substantial impact on the organization. In the organization this year. Glenbow’s operating model 2007-08, Glenbow’s Board of Governors committed to is somewhat unique for a Canadian museum. The a reinvigorated purpose for all of Glenbow and plans for collections are owned by the Province of Alberta and rebuilding a visual arts program. From December 2007 as an independent non-profit organization, Glenbow through to January 2008, Jeffrey Spalding was President is contracted by the province to care for and provide and Chief Executive Officer. In January 2009, he resigned access to the collections on behalf of the people of his position and the Board of Governors appointed Kirstin Alberta. Our funding comes from diverse sources. We are Evenden, then Vice President of Access, Collections and grateful for the Province of Alberta’s ongoing support to Exhibitions, to the role of President and CEO. Glenbow approximately one third of our operations. The rest of the is grateful for Jeffrey’s energy and commitment to funding includes grants from Calgary Arts Development, the institution in the past year, which saw a number of the City of Calgary, The Government of Canada and programming changes, more contemporary art and an foundations. We also rely on a mix of community support increase in acquisitions across the collection areas. and earned income such as attendance, memberships, individual donors, corporate sponsorships and a very limited withdrawal from the endowments We have not to sustain our operations. waivered from our Despite our current fiscal challenges, we commitment to have not waivered from our commitment to re-invigorate the institution, follow through on re-invigorate the a revitalized visual arts program and provide institution increased access to the collections for all of our visitors. We rely on community support like never A large number of gifts were generously donated before; membership and community involvement for by artists and collectors across Canada in response the organization is critical to our success. And we want to the institution’s commitment to a re-invigorated you to be involved. Tell us your thoughts on how we arts program. The result is an important infusion of can continue to evolve and better serve our visitors. We contemporary Canadian art and some international encourage you to continue to support Glenbow through 2 works to the Glenbow art collection. Some of these memberships, donations and sponsorships to enable the works are featured in this Annual Report, but look for museum to grow and meet the community’s needs. more exhibitions and initiatives in the future which will showcase this remarkable series of acquisitions. This year was one of transition for the organization. Some With the rapid change in focus in our exhibition in the community say that changes have not come

Facing page: Kirstin Evenden, President & Chief Executive Officer and Lauchlan J. Currie, Chairman of the Board

Glenbow Museum | Annual Report 2008-2009 3

Annual Report 2008-2009 | Glenbow Museum President’s and Chair’s Message

quickly enough to Glenbow, while others have raised exhibitions and learning opportunities and increase concerns that we have moved away from our tried and the profile of artists from this region so that they can true mandate of showcasing “The West”. Clearly, the contribute to a national dialogue about our future. We organization is at a crossroads with regard to its purpose. must also plan for the future of all of Glenbow; our To ensure we do what is best for our stakeholders, the collections are as diverse as our audiences. We are a community and the collections we care for, Kirstin museum, an art gallery, a library and an archives. Evenden launched an ambitious strategic planning process upon her appointment. This process, which involves the So what does the future for Glenbow look like? Glenbow community, Glenbow staff, management, members, will play an important role as a cultural leader for Calgary, volunteers and the Board of Governors, will ensure we one that can provide a forum for dialogue about artistic, bring a renewed focus to the museum’s purpose, enhance historical and cultural issues in a way that makes a its relevance as a cultural cornerstone in the city and significant community impact. What does this impact beyond and provide valuable and relevant programming to look like? One local artist tells of how his introduction to the community. It will also set a course for organizational Glenbow as a child is the very reason why he became financial stability. To make this happen, we’ve been an artist. The addition of a Buddhist shrine from the now meeting with stakeholders, community leaders, donors, closed Buddhist church in Raymond, Alberta (the first members, visitors and non-visitors to hear what the temple of its kind in southern Alberta) to our Indigenous studies collection means we can provide a touchstone to the community, recalling the shrine’s significance as a cultural and spiritual Glenbow will play symbol of the active Japanese Canadian an important role community of southern Alberta. Interaction with meaningful art and objects has resonance with as a cultural leader people; we can’t underestimate the value of such for Calgary experiences in our contemporary lives.

One of the important facets of rebuilding community needs and expects from Glenbow. Glenbow’s visual arts program is the recognition that Early feedback tells us that we must engage with the our physical facility requires renovation and expansion. communities we serve and ensure we meet their needs; Not only is our existing facility in need of upgrades, we need to ensure our plans are in sync with emerging but it is clear that Calgary needs Glenbow to step up trends and address the critical issues of our time. We have and develop a new stand-alone facility for the visual a social responsibility to provide access to the collections arts. In early 2008, Glenbow submitted a proposal to we maintain but we must do so for a reason. We must Calgary Arts Development’s Arts Spaces Investment provide opportunities for visitors to learn from artists and Process which outlined a conceptual plan to develop a key thinkers and for our audiences to learn from each stand-alone visual arts facility, one which would address other. Through this, Glenbow will be a place that not Calgary’s lack of a civic art gallery, provide adequate 4 only preserves history and culture, but actively animates space for Glenbow’s renowned art collection of some it, so we can enhance cross-cultural understanding and 30,000 works and expand the institution’s capacity to generate opportunities for lifelong learning. bring substantial exhibitions to the city. The process was part of a larger City of Calgary initiative: Reclaiming The community has ambitions for Glenbow. There are Calgary’s Cultural Identity: Arts Space Strategy and Capital expectations that we will rebuild the visual arts program, Plan, which was based on supporting research, The make visible changes to the institution, provide more Current State of Cultural Spaces for the Arts in Calgary.

Glenbow Museum | Annual Report 2008-2009 This initiative has demonstrated that the development of a more robust arts infrastructure is vital for the sector, gLenBOW in the for the future success of Calgary and for the quality of COMMUnitY life of our citizens. We couldn’t agree more. The process follows a decision by City Council to develop Calgary’s cultural spaces through the commitment of five percent In addition to offering exhibitions and programs at of the Municipal Sustainability Initiative Funds ($165 the museum, Glenbow plays a role in the community million) for culture related infrastructure. This initiative outside of the museum’s four walls. From school presents real foresight on behalf of our City’s leadership. outreach programs to public art installations, Glenbow We were thrilled to hear that Glenbow’s conceptual plan continues to consider ways to enhance cultural for a new building, which asked for $25 million to support awareness and generate opportunities for lifelong capital and endowment monies and the donation of learning through arts and culture. land, was one of several flagship projects included in the Calgary Arts Development’s 2008 Arts Space Process Recommendations presented to City Council in November 2008.

Glenbow’s new Strategic Plan will be launched in late 2009. This plan will address our ambitions and plans for this new stand-alone visual arts facility, our commitment to a renewed visual arts program and our desire to ensure significant and ongoing community relevance for all of Glenbow and its collections. ArtreAch In an effort to infuse Alberta classrooms with This year will be challenging for us. We need to address contemporary art from Canadian artists, Glenbow our current fiscal situation while still maintaining undertook a new initiative in spring 2009 with the exhibitions, programs and services for our visitors all program ArtReach. Developed with the generous while developing our strategic plan for the next five years. support of The Canada Council for the Arts - Art Bank, The community’s support is more important than ever the ArtReach Contemporary Art Prints Exhibition to ensure Glenbow can move forward as a valued and is comprised of 16 original prints by contemporary relevant cultural cornerstone in Calgary. We need the Canadian artists that explore contemporary Canadian community to put their trust in Glenbow by continuing to printmaking. The prints were installed in exhibitions at purchase memberships and support us through donations three secondary schools in Calgary – Queen Elizabeth and sponsorships. Glenbow will continue to do great Junior/Senior High School, Crescent Heights High things under its new leadership and with renewed focus School and Western Canada High School. During the and purpose. We gratefully thank Glenbow’s staff and the three week exhibitions, students examined the works Board of Governors for their passion and commitment as up close, referenced Glenbow-developed educational we move forward. Our vision is to strengthen Glenbow materials that link to Alberta art curriculum and as a serious and engaging cultural institution nationally participated in hands-on workshops and programs with and internationally. We hope you will join us. Natalie Marsh, Glenbow’s school programs coordinator. As the students learned about Canadian printmaking over the past 40 years, they discussed societal changes 5 since the 1970s and addressed how the world of art has Kirstin Evenden changed along with us over this time period. In order to President & Chief Executive Officer understand these changes in art, Glenbow encouraged students to look critically at context, intent and the technological advances in the printmaking medium. Lauchlan J. Currie Chairman of the Board

AnnuAl RepoRt 2008-2009 | Glenbow MuseuM THE GENEROSITY OF OUR DONORS An interview with art collectors and recent donors George Hartman and Arlene Goldman

In recent years, Glenbow Museum committed in 2008 in The Big Gift, organized by Glenbow and to rebuilding its civic and national identity as an art presented at three public art galleries in Calgary: The gallery and to take a leading role in the support and Nickle Arts Museum at the University of Calgary, the creation of visual art. During that time, George Hartman Illingworth Kerr Gallery at the Alberta College of Art and and Arlene Goldman made a major donation of Design (ACAD) and Glenbow Museum. 6 Canadian contemporary art to Glenbow’s collection. Encompassing 42 artists and 117 new works, this George Hartman and Arlene Goldman’s remarkable donation represents a major injection of art created in collection of contemporary work reflects their the last 15 years and, in conjunction with the rest of our commitment to a new generation of artists. Glenbow contemporary holdings, positions Glenbow to be part of is grateful for their gift, which will provide visitors, a national and international dialogue on contemporary researchers and students with the opportunity to engage art. Many of the works from this donation were exhibited with contemporary issues and the recent practice of

Glenbow Museum | Annual Report 2008-2009 artists from Canada and beyond. Their gift to Glenbow is really added to the enjoyment of collecting their work,” considered to be a model for other private collectors and explains Arlene. “We began reading and researching corporations in Canada. artists and shortly after acquiring the first few paintings, our interest in collecting contemporary art grew quickly.” Meet the Collectors: An Interview with George Hartman and Arlene Goldman While their collecting and collection reflects international For George Hartman and Arlene Goldman, collecting artists as well as Canadian artists, they focused on has always been a passion. As a young girl, Arlene had contemporary artists because they were able to meet the thousands of comic books. George, who moved to artists in person. “We’re drawn by the fact that we’re here Canada from Hungary when he was 11 years old, loved now,” says Arlene. “It’s a much more dynamic experience sports paraphernalia. At the time they met, George was if you have the opportunity to meet and get to know the artists personally.”

George Hartman and Once Arlene and George realized the talent of contemporary Canadian artists within Canada Arlene Goldman donated and those living abroad, they realized the larger 117 works to Glenbow, role they could play to help promote these artists. The role of a dedicated collector can far exceed providing a major expansion the financial commitment of acquiring pieces. to Glenbow’s contemporary Some passionate collectors, like George and Arlene, realize the role they can play as advocates Canadian art collection. and supporters of new artists. Discovering and meeting new artists, getting excited about this newfound talent and promoting these artists is collecting Canadian antique furniture and china. Over the part of the appeal. years together, they amassed other collections – antique televisions, radios, Mennonite and Doukhabor furniture “When we travelled internationally and monitored the and folk art, but eventually found their true passion: international art market, we observed international contemporary art. collectors acquiring pieces by Canadian artists abroad without knowing the artists were Canadian,” says George, “The first contemporary pieces we acquired were about “We wanted to express our pride and build awareness 10 years ago – paintings by David Urban and Gina about talented Canadian contemporary artists and their Rorai. We got to know both of them personally which inspiring work.”

From donation to The painting begins its journey exhibition packaged and shipped by a fine arts shipping company

When an artwork or artifact is donated to a museum, to Calgary in a climate- it follows an intricate path from the time it leaves the controlled truck with special 7 hands of the donor to being placed on display for suspension to reduce vibration visitors to enjoy. In 2007, William Perehudoff, a highly and driven by a specially regarded Canadian artist, donated his 1981 oil painting trained driver. AC-81-077. Follow the path this painting took to find William Perehudoff, AC-81-077, 1981, its new home in the exhibition, Modernist Art from the Collection of Glenbow Museum Glenbow Collection.

Annual Report 2008-2009 | Glenbow Museum “We know that one can never be aware of every artist, new careers of these young, talented artists. We love or every Canadian artist, but we hope that through our finding new artists and bringing them to the attention of interest, we can help build momentum for the exciting dealers and galleries – it’s great fun particularly as your relationship grows with the artist.”

The Generosity Of Today, to the trained art savvy eye, their collection Our Donors has a natural evolution. Others have seen themes in

From donation to exhibition

1» AC-81-077 arrives at infestation (those that do Glenbow’s loading dock take a trip into the co2 unit and is moved into Pest or our walk-in freezer). Control where the exterior 2» The painting goes to 8 packaging is examined art storage where the for any signs of damage. art technicians and If a work of art or artifact conservators complete is shipped in a wooden a condition report and crate, it is unpacked and begin creating a record in examined to ensure it Glenbow’s database. shows no sign of pest Ray Jense and Ray Laniel from the production team move the crate from the loading dock into Pest Control.

Glenbow Museum | Annual Report 2008-2009 their collection, but George and Arlene have always collected what they like and are interested in as opposed to choosing a theme and sticking to it.

Their collecting practice leads Arlene and George to offer some sound advice for would-be collectors. “An education in art is so much more accessible today with the Internet. When you begin collecting, and as you continue to collect, you have to spend a lot of time reading and researching artists and their work,” explains Arlene. “And this is much easier today with online resources, which has opened up the art world and it seems much less intimidating. Visit galleries private and public, visit museums, attend presentations and listen to George Hartman and Arlene Goldman in the great speaker series held at museums. Get a taste Toronto in August 2009 of what you like. But then try to get out and meet artists and get to know them.” news online and we look forward to when the next issue of an art magazine comes out. It hooks you.” “Remember you don’t need to be rich to collect,” adds George. “Buy or collect what you like. Everyone “In the last year or two, we’ve spent a lot of time with else will have an opinion but believe in what appeals new artists. Through meeting and speaking with artists, to you. Allow yourself to grow with the collection – you realize there’s a whole other world out there you’ll get better. The achievement is to appreciate and as you listen to and begin to understand the artists’ understand the works as you collect them. You can perspectives of the world around you. It’s fascinating.” change with the collection.” George adds, “And there are great parties in the art world – artists, dealers and museums throw the best Arlene and George show no signs in slowing down their parties. You’re welcome even if you don’t wear your collecting. They continue to be inspired and it is part business suit. You can be different and it’s welcome!” of their life now as George explains. “Art is beautiful. It captures you and it’s very hard to let go once you’re in that world. It’s such a nice complement to everything we do. We read the arts section first. We look for art

3» The painting is approved 4» Once approved by both by Glenbow’s senior Glenbow’s Acquisition management and submitted Committee and the for approval to the Collections and Access Acquisitions Committee, Committee, a combination a combination of staff and of senior staff, community 9 community advisors. The members and members work is accompanied by a of the board, AC-81-077 curator’s report explaining is officially accepted into how it fits into our collection the collection and William mandate, why it’s important Perehudoff, the artist who and how we might be able is also the donor, is issued to exhibit the work. Claude Belleau, painting a tax receipt. conservator, examines AC-81-077

Annual Report 2008-2009 | Glenbow Museum neW aCqUisitiOns at gLenBOW

In 2008, Glenbow acquired two large sculptural works by acclaimed Haida artist es Michael Nicoll Yahgulanaas, known for I his distinctive visual style which blends Indigenous art traditions with the popular style of Asian graphic novels. The first work, a large shield entitled Stolen But Recovered is built out of recycled car hoods and covered with gleaming copper leaf. The second work, Pedal to the Meddle (pictured right), is a Pontiac Firefly which has been covered in a mixture of black paint and argillite dust, essentially turning it into a large argillite sculpture. Both of these works,

enous stud which are part of Glenbow's Indigenous studies and art collections, will be featured IG in the upcoming Michael Nicoll Yahgulanaas exhibition in fall 2009. Ind

FroM donAtIon to exhIbItIon

5» The art curator continues considered as significant researching the artist and Canadian cultural property. the artwork and records 7» The Canadian Cultural detailed information. Property Export Review 10 6» Due to the significance of Board approves the work the piece, Glenbow submits as significant Canadian the painting for certification property. by the Canadian Cultural Canadian Cultural Property Property Export Review Export Review Board Board of the Department of Canadian Heritage to be Monique Westra, art curator, examines AC-81-077 in art storage area

Glenbow MuseuM | AnnuAl RepoRt 2008-2009 Military History Collection

The Sam Steele Collection In partnership with the University of Alberta Library, Glenbow repatriated the Sir Sam Steele Collection from London, England, to Alberta. The artifacts, including Steele’s incredible medals and clothing, are now at Glenbow, and the archival materials are in Edmonton. The collection has been shown behind-the-scenes to scholars, historians, the Li br a ry RCMP, the Lord Strathcona’s Horse (Royal In October 2008, the Glenbow Library acquired the Canadians), collectors, museums (local, Ladwig collection of directories which added over regional and national), and the general public 75 directories to Glenbow’s holdings. This significant who were thrilled to see the collection that collection was compiled by Sandra Ladwig of Red represents nineteenth century Canada’s Deer who did genealogical research for private clients most famous military man – Sam Steele. for many years and, in the process, acquired a huge Glenbow showcased the medals from this collection of city directories from cities across Canada. collection in an exhibition, Jewels of the Researchers who come to Glenbow make heavy use of Jacket, this past year. The collection will be directories such as these. Genealogists like them because featured in the fall of 2012 when Glenbow the listings include more information than telephone develops and presents Canada’s first major books, such as occupation and spouse’s names. exhibition on Sir Samuel Benfield Steele. Site, building and business researchers use these city directories because addresses are listed separately so you don’t need to know who owned or occupied a building to trace its history. Business entries in the directories often include the names of owners and executives. This collection was a great addition and supplemented Glenbow’s existing collection with historical information on many smaller western centres.

8» The curator integrates the If you think you have a work into the narrative museum-quality piece to of the new Modernist donate, visit exhibition and works with www.glenbow.org/ the designer and production involved/donations teams to situate AC-81-077 11 on the gallery wall. 9» In March 2009, AC-81-077 is featured in the exhibition, Modernist Art from the Glenbow Collection.

Annual Report 2008-2009 | Glenbow Museum Collecting artifacts and archives relating to the ranching frontier in southern Alberta has always been a priority for Glenbow. Early in our history, archivist Sheilagh Jameson, the daughter of pioneer ranchers, began to amass a top-notch collection of personal papers, ranch records, artifacts and agricultural association files dealing with the early years of the cattle industry. Doug Cass, director of Library and Archives and Lorain Lounsberry, senior curator of cultural history, enlisted the help of community advisors to expand our post-depression holdings. After three years of meetings, tours of historic ranches and ollect i on connecting with a number of pioneer families, Glenbow has received several important donations to the cultural history and archival collections, including the records of the Cross family ranches, the Waldron Grazing Cooperative, and the Towers & Wearmouth ranches. The donations also include artifacts from contemporary rancher Lenore McLean and historic trick rope performer and dude ranch operator Flores LaDue (Mrs. Guy Weadick) whose riding skirt is pictured at right.

Archives

Anyone looking for information on what was new and important to Calgarians, in the 1960s and 70s will want to review the Archives’ recent acquisition of the Linda and Dick Curtis Fonds. Linda Curtis, a

story C a l Hi story C ultur well-known journalist in Calgary, had a long career with The Albertan newspaper as a reporter and columnist. Born in Calgary in 1920 and raised in Didsbury, she moved in 1939 to Ontario where she began a writing career with CBC Radio and as a freelance writer for Maclean’s and other magazines. Linda Curtis was one of the few women journalists of her time who escaped writing solely for the “women’s pages” and wrote her own column in The Albertan from 1966 to 1979 which covered human interest stories about local people and events. In 1982, Linda Curtis began writing for the Calgary Herald and retired in 1991. Donated in 2008 by 12 Linda Berreth, Linda Curtis‘ niece, the collection consists of Linda’s extensive writings (articles, columns and scripts) produced for magazines, newspapers and radio (1943-1984) and a complete set of her columns covering a wide range of topics New Acquisitions including abortion, EXPO ’67, music, restaurants, at Glenbow sports and even the Glenbow.

Glenbow Museum | Annual Report 2008-2009 ACCESSING THE collection ANYTIME

In early 2009 Glenbow Museum launched two new art artist, a conservator, a curator and an art dealer. The websites, Artpad: A Collection. A Connection. responses from each ‘player’ demonstrate the various (www.glenbow.org/artpad) and Impress: Prints, Artists ways one can see and appreciate art.” and Ideas (www.glenbow.org/impress). Although both were created for high school and post-secondary Impress: prints, artists and ideas students respectively, the remarkable content of these www.glenbow.org/impress two bilingual sites has proven to be of interest to art Designed to be a powerful research tool for post- lovers, researchers, dealers and anyone curious about art secondary art students, Impress offers visitors an from around the world. in-depth view of a specific art medium that has deep roots in this province: printmaking. This website Artpad: A Collection. A connection. contains a visual and informative database which www.glenbow.org/artpad includes 1,903 prints, more than 400 print-related Artpad takes a fresh approach to looking at and materials such as print blocks, newspaper clippings, engaging with contemporary art from a regional photographs and sketches, as well as 147 audio and and national perspective through 55 artworks from video clips of artist interviews. Glenbow’s extensive contemporary art collection. Instead of starting the experience with the usual Developing these two websites required significant collection search, visitors can view the art in the resources, but as Johanna Plant, curator for Impress context of a dynamic historical timeline, learn more explains, the results were well worth it. “As is the case about the creative process through featured artist in most museums and galleries, the physical space we interviews, or put their artistic skills to the test by have to show our collection is far exceeded by the creating an art installation. size of the collection; even with frequently changing shows, we are unable to show all the amazing works Artpad curator Quyen Hoang’s favourite feature on we hold. By digitizing a significant number of artworks the website is The Players. “Through audio interviews, and making them available online, visitors from around this section examines in detail five works of art from the world can have access to the collection.” the perspectives of four ‘players’ in the art field – the

Screen captures of Glenbow‘s Impress and Artpad websites

Annual Report 2008-2009 | Glenbow Museum New Art Galleries

Glenbow boasts the largest and most comprehensive art Historical Art from the Glenbow Collection collection in the province and one of the most extensive Featuring 75 works of art drawn entirely from Glenbow’s in Western Canada. In spring 2009, Glenbow opened art collection, this gallery represents the first time in 15 two new art galleries on the second floor - Historical years that such a sizable and representative selection and Modernist Art from the Glenbow Collection curated has been displayed. Ranging from the eighteenth 14 by Monique Westra and designed by Stephen Dundas century to the early twentieth century, the works of Smith. Between the two galleries there are 165 works art are organized into broad thematic areas: portraits, of art from our collection now on display. These two landscape, wildlife, First Nations and the fur trade. Each galleries, presented side by side, offer a bridge between grouping comprises several artists, setting up intriguing Canada’s early art history and the present. juxtapositions of style, size and interpretation. Among the famous artists represented here are the icons of western art, Charlie Russell and Frederic Remington, and the

Glenbow Museum | Annual Report 2008-2009 most celebrated wildlife artist in history, Carl Rungius, a this gallery reflects these varied approaches. In order favourite of Glenbow founder Eric Harvie who amassed to highlight the diversity of styles and approaches of the core of the historical collection – one that has grown modernist artists in Canada, this exhibition is organized substantially over the years through purchases and thematically rather than chronologically, regionally or through the generosity of donors. by artistic groups. Modernism is diverse and such an exhibition approach provides visitors an overview of the 15 Modernist Art from the Glenbow Collection many ways in which artists worked both regionally and Reflecting works from the modernist era from the early nationally during this period. twentieth century up to 1980, this exciting gallery features 90 works of art in styles which range from realism to abstraction. In Canada as elsewhere, modernism took many diverse forms and served different purposes;

Annual Report 2008-2009 | Glenbow Museum Feature Exhibitions 2008-2009

outstanding historical artifacts. Webber’s photographs represent a nine-year project documenting the moving, resettlement and rebuilding of the Little Bow Colony in southern Alberta. It is the most comprehensive and in-depth record of its type created on any Canadian Hutterite colony. The simple, hand-crafted artifacts – powerful evidence of the group’s plain, disciplined traditions – eloquently illustrated the Hutterite values of spirituality, discipline and simplicity documented in Joe Fafard Webber’s photographs. March 14, 2009 – May 31, 2009 Organized by the MacKenzie Art Gallery and the National Gallery of Canada Joe Fafard, an acclaimed Canadian artist based in Saskatchewan, is best known for his uncannily realistic and whimsical small portraits in clay of family, friends, artists and politicians and for his wonderful large-scale cows and horses in steel and bronze. Fafard’s works in this retrospective exhibition ranged from very early work to large public commissions, from caricatures to portraits, from traditional to experimental and from miniature to monumental. Unifying such diverse aspects of our society as urban and rural, French and English, east and west, elite and popular, Fafard’s work addresses Marilyn Monroe: Life as a Legend community life with great universal appeal. November 29, 2008 – February 22, 2009 Curated by Artoma, Hamburg, Germany and toured by International Arts & Artists, Washington, DC. This exciting exhibition brought together hundreds of images inspired by one of the most famous women of the twentieth century. It included photographs of Marilyn Monroe in poses which have become iconic images of our time as well as many candid shots of the famous actress and singer from her days as Norma Jeane to the heyday of her spectacular fame as Marilyn Monroe, sex symbol and international sensation. The contemporary art in this exhibition explored her image and its relationship to pop art and pop culture in photo-based 16 art, multimedia works, paintings, sculptures and collages. Hutterite Traditions, Photographs by George Webber February 14, 2009 – April 13, 2009 Visitors were provided with a glimpse inside the private world of Alberta’s Hutterites through George Webber’s prize-winning photographs and Glenbow’s

Glenbow Museum | Annual Report 2008-2009 Portrait of an Artist Of Christmas Past October 16, 2008 – February 8, 2009 November 21, 2008 – January 4, 2009 This contemporary art exhibition featured new Glenbow reached deep into its collection and created acquisitions to Glenbow’s collection by artists Ron a delightful holiday exhibition highlighting seasonal Moppett, Micah Lexier, Tom Hopkins, Chris Flodberg, treasures including joyous Christmas music, whimsical Sarah Holtom and Jennifer Stead. Examining the ornaments for the tree, essential things for the kitchen concepts of portraiture and self-identity, the exhibition and table and, of course, gifts. featured portraits of artists in a traditional style but also “portraits” of the artists’ studios and work spaces in both real and imagined ways. These works reflected a dynamic community of artists and encouraged visitors to consider the whole notion of self-identity.

Jewels of the Jacket: Medals of Sir Sam Steele October 17, 2008 – January 12, 2009 Through the Looking Glass As a prelude to a comprehensive 2012 exhibition on Sam September 26, 2008 – November 16, 2008 Steele, one of Canada’s most famous military men of the This exhibition took a close look at the altered world nineteenth century, this exhibition featured his incredible of dream spaces and reversals. Curated by Glenbow’s grouping of medals now in Glenbow’s collection – jewels former President and CEO Jeffrey Spalding, this that summarize his amazing military career. In the thick exhibition drew connections to the playful, poetic of the action for almost 50 years, Steele helped make themes of the Lewis Carroll classic of the same name. It history in Western Canada from 1870-1918. A fearless featured regional, national and international artists and a North-West Mounted Police officer, Steele became a role mix of Glenbow collections and significant loans. model for the Mounted Police and for Canadian soldiers. 17

Annual Report 2008-2009 | Glenbow Museum Feature Exhibitions 2008-2009

The Paradise Institute by Janet Cardiff and George Bures Miller September 26, 2008 – November 16, 2008 The Big Gift June 6, 2008 – September 27, 2008 Organized and circulated by the The Big Gift, a collaborative, three-venue exhibition at National Gallery of Canada the Glenbow Museum, the Alberta College of Art and The Paradise Institute, by world-renowned Alberta sound Design’s Illingworth Kerr Gallery and the University of and visual artists Janet Cardiff and George Bures Milller, Calgary’s Nickle Arts Museum, showcased the significant created a new artistic format located between two works of art donated to Glenbow Museum during disciplines, a hybrid genre borrowing from installation, Jeffrey Spalding’s time as President and CEO. The over video projection, audio, sculpture and performance; 600 works ranged from video installation to paintings, where artists effectively function as movie directors, photographs and sculptures. screenwriters, composers and radio play producers.

Reweaving a Life February 22, 2008 – September 28, 2008 SI08: Art+Design Reweaving a Life portrayed the daily reality of the Nahua June 25, 2008 – August 17, 2008 women of Tlamacazapa, Mexico, who live in acute Sled Island Music Festival, an annual four-day, multi- poverty and who are caught in a complex web of social venue festival, showcasing a wide variety of emerging disintegration, environmental toxicity and water shortage. and established musical talent, included a visual arts In Tlamacazapa, life revolves around basket-making, a component to their 2008 program and occupied a traditional art that provides their basic income. A group 18 number of downtown spaces. The Glenbow portion, of nine Nahua women opened their hearts and their organized by former senior art curator at Glenbow, homes to artists who produced a series of paintings, Mary-Beth Laviolette and curated by Wayne Baerwaldt, each portraying aspects of their lives and the coming director/curator of exhibitions at the Illingworth Kerr social changes enabling a strong and courageous group Gallery of the Alberta College of Art and Design, of Indigenous women to place increased value on their presented a wide range of innovative young artists and work and on themselves as individuals. cultural producers to examine how a new generation reads and bridges new art with ideas of the past.

Glenbow Museum | Annual Report 2008-2009 to respond to Glenbow’s collections. The artists were actively engaged in the exhibition’s development and had the opportunity to respond to relevant issues in the community such as the legacy of colonialism, stereotypes and misconceptions about Aboriginal artifacts and the “authenticity” of history. Their work makes room for other kinds of histories and identities to come forward in a dialogue about contemporary Aboriginal identity.

Honouring Tradition: Reframing Native Art February 16, 2008 – July 13, 2008 Honouring Tradition: Reframing Native Art marked the first time in Glenbow’s history in which the ethnographic and art collections were shown side-by-side and challenged views that define historical art traditions as separate from contemporary Aboriginal art. The exhibition, which included substantial loans of works from important contemporary artists and cultural producers, invited visitors to experience rich artistic Dream: A Tale of Wonder, Wisdom & Wishes traditions of the Native peoples from the Northern Plains August 18, 2007 to July 6, 2008 and Subarctic regions. Over 200 colourful objects such Dream: A Tale of Wonder, Wisdom & Wishes, featured as shirts, moccasins, baskets, story robes, sculptures, the original artwork of 15 top children’s illustrators from photographs, paintings and mixed media works were five countries, including Governor General Award winner featured. Aboriginal art from the late 1800s through to Barbara Reid and two-time Caldecott Medal winners the present was merged to honour the importance of Leo and Diane Dillon. With watercolour, collage, digital community, the connection to land and place and the and plasticine pieces, the exhibition was based on the tradition of storytelling. award-winning bestselling book Dream by Susan V. Bosak which tells a multi-layered, poetic story about hopes and dreams across a lifetime.

Tracing History: Presenting the Unpresentable February 16, 2008 – June 22, 2008 Tracing History: Presenting the Unpresentable invited four contemporary Aboriginal artists: Tanya Harnett, Faye HeavyShield, Terrance Houle and Adrian Stimson,

Annual Report 2008-2009 | Glenbow Museum Thanks to our supporters Glenbow Museum relies on community participation to achieve excellence in its exhibitions, programs, events and services. We receive meaningful support from our members, donors, volunteers and other partners. Glenbow is pleased to acknowledge the significant contributions made by the following supporters for the period from April 1, 2008 to March 31, 2009.

$100,000 and Above Canada Council for the Arts Patrick Lundeen Evelyn Aimis Canadian Heritage David MacWilliam Eric Berthold Information Network Masters Gallery Ltd. City of Calgary and Calgary Arts Richard Corso New Sun Fund at the Calgary Development Authority Cheryl Gottselig and Yves Trépanier Foundation Canadian Heritage Museums Pnina Granirer David and Gail O’Brien Assistance Program Eric Hansen O’Connors Mens and Womens Canadian Pacific Railway Alain Lamoureux Clothing and Footwear ConocoPhillips Canada Angela Nielsen Olympia Trust Company Gerald Ferguson Judith Nolte Marc Ostiguy George Hartman and Robert and Susan Scott Zakary Pashak Arlene Goldman Rebecca Sisler Peters & Co. Limited Dr. Leslie Kawamura Jay Sujir Richard Prince Leon Liffman Ralph Tieleman Jill Rawlinson Nexen Inc. Total E&P Canada Ltd. Joan Snyder John Purdy Virginia Christopher Galleries Ltd. Suncor Energy Foundation Tony Scherman THEANON Charitable Foundation Orest Semchishen $10,000 - $24,999 Tristone Capital Inc. Miriam Shiell Jack and Maryon Adelaar Peter von Tiesenhausen Takao Tanabe Alexander Rothney (Sandy) Cross Karen Wilkin Doug Udell Fund at the Calgary Foundation Linda and Clayton Woitas ARCIS $50,000 - $99,999 George and Colleen Bezaire $5,000 - $9,999 ARC Resources Ltd. Bumper Development Corp. Ltd. Alberta Clipper Energy Canadian Heritage Canadian Canadian Art Galleries Ltd. David and Leslie Bissett Culture Online Program Mr. and Ms. Gord Case Camcor Partners Inc. Chevron Canada Resources Lauchlan and Karen Currie Canada Council Art Bank Estate of Mary Elizabeth Isserstedt Joanne Cuthbertson and Judy Chartrand John Hartman Charlie Fischer Paul Colbourne Newzones Gallery of Enbridge Inc. Owen Curnoe Contemporary Art John Francis Devonian Foundation John Noestheden Guy Gagnon EnCana Corporation Roberto Lorenzetto Galleon Energy Inc. Chris Flodberg Catherine Ross Great-West Life Assurance Griffiths McBurney and Partners TrépanierBaer Gallery Inc. 20 Company Bradley Harms James and Susan Hill $25,000 - $49,999 Glenda Hess Imperial Oil Foundation Alberta Foundation for the Arts Mary M. Hetherington Allan and Annette Kolinsky Alberta Museums Association Harley and Rebecca Hotchkiss Ron Kostyniuk Guy Amireault Stephen Hutchings Michael and Madelyn Lang ARC Financial Corporation Jack Jeffrey Marie Lannoo Ian and Heather Bourne Monica Kohlhammer

Glenbow Museum | Annual Report 2008-2009 William Laing Lawrence W. West Family at the Verna Jean Fairbrass Birch Libralto Private Giving Foundation Federation of Calgary Communities Bill and Corinne Macdonald Steve and Carolyn Soules FirstEnergy Capital Corp. Macleod Dixon LLP Bob and Pat Steele Greg Forrest and Margo Helper Mrs. Alexandra McMeekin The Kahanoff Foundation Frederick and Heather Gallagher Barbara McMorland University of Lethbridge Pat Gibson Osler Hoskin Harcourt LLP Timothy and Elaine Godfrey Painted Pony Petroleum Ltd. $1,000 - $2,499 Wanda Godwin Carolyne Kauser Abbott and Graeme Patterson Alison Griffiths Andrew Abbott Ingrid Mary Percy David R. Haigh Q.C. Aduro Resources Ltd. Robert Proudfoot Jim Hall Alberta Chapter, Germans from RBC Foundation Russia Heritage Society Timothy Hamilton Maria Rees Brenda Andrews Robin Harvie Edward Schwartz Elizabeth and Bob Andrews Susan Healy Richard and Mary Shaw Kevin and Karen Angus Heenan Blaikie LLP Jacqui F.C. Shumiatcher Kenneth and Bernice Baher Dr. John R. Hemstock Paul Sloggett Barbara J. Baker Barb Higgins Heather and Herb Snowdon Mary Barr and Jim Allard Brian Hook Adrian Stimson Mr. and Mrs. Edward G. Battle Donna and Greg Horton The Institute For Modern and Hazel Bennett Terrance Houle Contemporary Art Best of Bridge Publishing Ltd. Imperial Oil Limited Ronald and Dawn Thrasher Blake, Cassels and Graydon LLP Ryan Kalt Devon Blean Herbert M. and Patti-Anne Kay $2,500 - $4,999 James and Shelley Keough Douglas Udell Gallery Bountiful Resources Inc. Martin Keeley Altia Energy Ltd. Bow Valley Energy Inc. Betty Lander Ruth Barker Peter Boyd and Janet Slade James and Helen Laycraft Linda Berreth Brawn Foundation Robert and Tanis Lefroy Bill & Jean Toole Family Donor Michele Nowak and Nancy Lever Advised Fund at the Calgary Lloyd Buchanan Foundation Bumper Foundation Longbow Capital Inc. Calgary Mineral Exploration Group Bruce Burns Letha MacLachlan Sean Caulfield Calgary Exhibition and Stampede Lloyd and Tracy Maybaum Consulate of the United States Calgary Foundation Kimowan McLain of America Calgary Zoo Rod McDaniel Roger Crait Don and Marlene Campbell Jean and Rod McKay Daylight Energy Ltd. Earl Campbell Lenore McLean Estate of Dennis Wagner Bruno Canadien James and Dorothy McLeod Estate of Ed Johnston John Cardiff and Linda Hall Midnight Oil and Gas Ltd. Herringer Kiss Gallery Ziva and Noah Cohen Ministry of Culture and Brian Lavergne Anne Crawford Community Spirit George Littlechild Crocotta Energy Inc. Milestone Exploration Inc. Lorne Carson Pofessional David Cruise Dr. Marcy Mintz and Dr. Rob Harrop Corporation Morris and Ann Dancyger Janis and Bruce Morrison MacEwan Family Charity Fund at William Davis 21 Robert and Margaret Montgomery the Calgary Foundation D. Michael Dobbin Peter Mortimer-Rae F. Richard Matthews Art and Bonnie Dumont Shaun Murphy Morna Murray Dr. Glen E. Edwards Ted and Margaret Newell Pirie Foundation Ember Resources Inc. Eva Newman Estate of H.G. Glyde Gwen Northam Estate of Joyce Christina Oliver

Annual Report 2008-2009 | Glenbow Museum Thanks to our supporters

Stuart and Martha O’Connor Berens Energy Ltd. Gerald and Mary Janet Knowlton Orleans Energy Ltd. Roy J. Bily Phyllis Konrad Marilyn Palmer Nancy Blair Nick Kontros James Pasieka Bernice Bray Sandra Ladwig Rob and Ruth Peters and Family Reid Brodylo and Carri Clarke Laricina Energy Ltd. Rita and Glen Popowich William G. Buchanan Livingston Energy Ltd. Profound Energy Inc. Calgary and District Labour Council Peter and Jeanne Lougheed Robert and Sharon Quinn Calgary Fish and Game Association James F.N. and Brenda Mackie Dr. Michael and Canadian Honey Council Ms. Una Maclean Evans Mrs. Catherine Robinson Vicki Cass Anne McCaig Vera A. Ross Bill Chester Irene Morgan Bruce Schultz & Jayne Takahaski Chinook Country Historical Society Robert Newell Rose Scollard Sandra Clark Olive Nicholas Seven Generations Energy Ltd. David and Gay Claydon Hubert M. J. Nijssen Len and Phyllis Shapiro Jay and Lucy Cross Mary Perks Mr. Ramsis Shehata and John F. Crossley Maureen Poscente Mrs. Martina Shehata Evelyn de Mille David and Drue Robinson David and Marion Shill Decidedly Jazz Danceworks Michael Robinson and Brian R. Sinclair Ned Downey Lynn Webster Donald B. Smith Drumheller Public Library John and Donna Rooney St. Andrew-Caledonian Society Edmond and Maureen Eberts Harry and Joanne Schaefer of Calgary Jos and Margaretha Eggermont John Schmidt Sheldon Steeves Una MacLean Evans Smithbuilt Hats Sharon Stevens Kirstin Evenden Society for Technical Michael and Caron Stewart Mo Fazil and Joanne Jenkins Communications, Temple Energy Inc. Alberta Chapter Geraldine Fish Michael J. and Renae N. Tims Margaret and Ronald Southern Robert and Margaret Fraleigh TransCanada PipeLines Limited Muriel Stewart Galleries West Magazine Louise M. Travis Stephen and Barbara Stretch GCS Resources Management Ltd. United Mine Workers of America, Donald and Arleen Thompson Janice Gogal-Foster Western Canada William and June Tye Linda Gorman Terry Vandenbrun United Way of Calgary and Area John Grant Christine Vernon-Wood Josepha Vanderstoop and Glynis Grigg Waldron Grazing Cooperative Russ Forrester Rick and Margaret Harrop Dr. Klaus W. Westphal Anne and Paul Wanklyn Beverley Hrenewich and Tom Willock Edith Wearmouth Gloria Filyk Rob Zakresky Lela Wilson Joanne Hawkes Lorne Woodrow Thelma Horte $500 - $999 Brian and Barbara Howes 22 Alberta Registered Dietitian’s $250 - $499 Association John Ingram Joyce Arnold Barry R. Aldred Carrol Jaques Mowry Baden Fraser Balfour Ian and Julie Jones G. Allan Baker Diana and David Ballard Sheila Kelly and Scott Montgomery Beulah and David Barss Charles Barlow Ms. M.G. Eaton and Margaret Bawden Mr. Kim Kertland Robert Brewster

Glenbow Museum | Annual Report 2008-2009 Dane and Leonora Bridge Patricia Lee J. Graham Weir George Brookman Lidia Lemay Shirley A. Wolfe H.A. (Sandy) Bruce Jean Leslie Hal and Marnie Wyatt Eleanor Bryan Douglas and Nancy Long Larry Buchan Donald and Doreen Lougheed In-Kind Art Donations – Canadian Oil Scouts Association Dr. E.W. Paul Luxford (Values Pending) David Alexander Virginia Capen Colin and Margaret MacDonald Patrick Canone Clayton and Norma Carroll Joan MacMillan Ceramsky Artworks Ltd. Doug and Vicki Cass Helen Maglis Mario Malenfant John and Ann Casson Anitra Mamen Gilbert Normand Marc Charest Neil and Fiona Mattatall Robin Peck Barbara and Don Christensen Leota McAlpin Jerry Radowitz Diane and Alvin Clark Norman McDonald and Richard Rhodes John Earle Clark and Kathy Smith Carol A. Ruzycki Michael and Barbara Morin Helen Ronald Katherine Clarke Ruth B. Mowat Patrick Saurel Yanka and Robert Cochrane Leslie Newton Edward Schwartz Dr. Martha Cohen Dr. John and Mrs. Margaret Noakes Laurel Smith Susan Cowan James and Cheryl Peacock Yvon Tardif Brendan E. Cryan Aileen Pelzer Nancy Tousley-Cameron Thomas and Mary Cumming Dr. Chris Penney and Marisa Zavalloni V.A. Cuthbertson Mrs. Betty Penney Helen Zenith Chris Davis Cameron and Amanda Reid Tamar Zenith Walter and Irene DeBoni Moness Rizkalla and Susana Bustillo Tim Zuck Betty and Edward Earle Ernest F. and Adele Roberts Robert Elias Rock Energy Inc. Special thanks to our many anonymous donors in Dale Ellert and Barbara Snowdon Wolf Rothmann all categories. Estate of Anna Nowick Ann Roy Robert and Norma Farquharson Mary and Mary Cristina Rozsa Food Safety Information Society de Coquet Ron and Aileen Freeman Deborah Sanderson Richard and Susan Galloway Jack and Marie Sazie John and Ethelene Gareau Elizabeth Scott David Garneau Carter Siebens and Ellen Siebens Fran Geitzler Ian Smythe G M Bain Real Estate Services Ltd. Southern Alberta Sheep Breeders C.R. and Eleanor Guest Perry and Geneva Spitznagel Glenbow Museum and the Allison Matthews Hankins Debbie and Brian Stahl Province of Alberta have Patricia and Mike Hantzsch James and Lorna Stewart enjoyed a strong relationship Doug Hawkes Claudette Stiven Michael Hawley Michael and Broda Stuart for over 40 years dating back Brian G. Holmes Robert and Marni Taylor to the museum’s creation Fraser and Michele Horne Ann Ten Pierik by an act of the Legislature Marion Jensen Helen Thomson in 1966. We gratefully 23 Rhoda Johnson Norma Thurston acknowledge the Province of Yvone Kee Tournament Exploration Ltd. Alberta for its ongoing support John and Maria Kimber Joy Tozer to enable us to care, maintain Karen Konrad Eileen Van Tighem and provide access to the Lorne and Patricia Larson Arthur and Betty Ward collections on behalf of the A. Ronald and Barbara Law Lawrence and Olga Watson people of Alberta.

Annual Report 2008-2009 | Glenbow Museum CREDITS

Cover: William Perehudoff, AC-81-077, 1981, Collection of Glenbow Museum; Gift of the Artist, 2007.136.010. Page 1: Honouring Tradition exhibition Page 3: Katie Ohe, Puddle I, 1976, Collection of Glenbow Museum. Purchased with the support of the Canada Council for the Arts Aquisitions Assistance Program/ Oeuvre achetée avec l’aide du programme d’aide aux acquisitions du Conseil des Arts du Canada and with the Glenbow Collection Endowment Fund, 1998.039.001 A-C. Featured in Modernist Art from the Glenbow Collection exhibition. Page 6: David Urban, Like Seeing Fallen Brightly Away, 1998, Collection of Glenbow Museum. Gift of George P. Hartman and Arlene Goldman, 2007.117.110 A and C. Page 7: William Perehudoff, AC-81-077, 1981, Collection of Glenbow Museum. Gift of the Artist, 2007.136.010. Page 8: Gina Rorai, Parade, 2000, Collection of Glenbow Museum. Gift of George P. Hartman and Arlene Goldman, 2007.117.091. Page 9: William Perehudoff, AC-81-077 [detail], 1981, Collection of Glenbow Museum. Gift of the Artist, 2007.136.010. Page 10: From top to bottom: Michael N. Yahgulanaas, Pedal to the Meddle, 2007, Collection of Glenbow Museum; Purchased with funds from the Historic Resources Fund, AA 2210. William Perehudoff, AC-81-077 [detail], 1981, Collection of Glenbow Museum; Gift of the Artist, 2007.136.010. Page 11: Clockwise from left: 1914-1920 British War Medal, Collection of Glenbow Museum, C-54150; Modernist Art from the Glenbow Collection exhibition. Page 12: From top to bottom: Leather chaps originally owned by Flores LaDue (Mrs. Guy Weadick), ca. 1920, Collection of Glenbow Museum; Gift of Lenore J. McLean, Stimson Creek Ranches. Linda Curtis at work, ca. 1970-74, Collection of Glenbow Archives, PA-3818-43. Page 13: Glenbow’s Artpad: A Collection. A Connection. (www.glenbow.org/artpad) and Impress: Prints, Artists and Ideas (www.glenbow.org/impress) websites. Page 14: Historical Art from the Glenbow Collection exhibition Page 15: Modernist Art from the Glenbow Collection exhibition Page 17: Clockwise, from left to right: George Webber, Braiding Maria’s Hair, Little Bow Colony, 2000, Collection of Glenbow Museum. Gift of George Webber, RCA, 2006.003.042. Antique Christmas Postcard, ca. 1909-1912, Collection of Glenbow Archives. Page 49: Dennis Oppenheim, Device to Root Out Evil, 1997; This exhibit has been facilitated by the Glenbow Museum with the generous support of the Benefic Foundation, Vancouver, B.C., owner of the work. Page 52: William Perehudoff, AC-81-077, 1981, Collection of Glenbow Museum; Gift of the Artist, 2007.136.010.

Glenbow Museum | Annual Report 2008-2009 FINANCIAL REVIEW

Contents 25 Management Discussion & Analysis 26; Management’s Report 30; Auditors’ Report 31; Statement Of Financial Position 32; Operating Fund Statement 33; Statement Of Operations And Changes For Restricted, Endowment And Designated Fund Balances 34; Statement Of Cash Flows 36; Notes To The Financial Statements 37; Board Of Governors 48

Annual Report 2008-2009 | Glenbow Museum Management Discussion & Analysis

The following discussion and analysis should be read in conjunction with the accompanying audited financial statements and other information contained in this annual report.

OVERVIEW AND OPERATING RESULTS Fiscal year 2009 was a very difficult year for Glenbow. The organization faced significant pressures both internally and externally.

GLENBOW MUSEUM OPERATING REVENUE $ 2009

GOVERNMENT OF ALBERTA 3,489,000

INVESTMENT INCOME 1,666,781

FUNDRAISING 2,021,244

ADMISSIONS AND MEMBERSHIPS 1,145,457

COMMERCIAL ACTIVITES 944,016

AMORTIZATION OF DEFERRED REVENUE PROPERTY AND EQUIPMENT 762,013

$10,028,511

In the face of a challenging economy, operating revenues declined significantly between the year ending March 31, 2008 and March 31, 2009. Operating revenues were $1.7m or 14.5% less than in the previous twelve months. The largest shortfalls began to occur in the fall and winter months making it difficult to reduce costs and scale back operations quickly enough to prevent a deficit which rose to $1.6 m by year end. • The only revenue source which increased during the year was the contractual fee with the Province of Alberta for the provision of care, maintenance and allowing public access to the Provincial collection. This annual fee increased by $55k to $3.5m, an increase of 1.5%. • Revenue from income earned by Glenbow’s endowment and quasi-endowment funds was capped at 5.5% of the funds’ market value at the date that the operating budget was approved. The value of the funds in the spring of 2008 when the operating budget for the year was approved were approximately $3m less than at the same point in time in the prior year. Overall investment income allocated to the Institute as operating revenues consequently decreased by $346k. This source of funding continues to represent 17% of total operating revenues annually to the organization. • In the face of a weak economy, and as a result of significant changes in Glenbow’s development team and fundraising approach, funds generated from fundraising intiatives fell by $1m year on year. The impact of this decrease was particularly difficult to manage. With the constraints in the economy, support for exhibits and programs which is normally in place 12 to 18 months before the program begins or the exhibit opens, were negotiated and finalized much closer to the actual event dates with consequent cash flow difficulties. As the economic crisis accelerated in the late fall and winter of 2008/09 many of Glenbow’s fundraising targets 26 could not be met. Fundraising revenues fell from 26% of 2008 operating revenues to 20% of 2009 operating revenues. • Admissions and membership revenue decreased by 7% or $89k. The Mavericks gallery has now been open for two years and other permanent galleries are over 10 years old. The strong focus on contemporary art in our temporary exhibit schedule changed our audience base.

Glenbow Museum | Annual Report 2008-2009 • Commercial and miscellaneous sources of revenue (which include the museum shop) show the impact of a difficult year as well. Gross revenues in the shop fell by $120k, however the net margin in the shop showed a slight improvement over previous years.

GLENBOW MUSEUM OPERATING EXPENDITURES $ 2009

CORE SERVICES 3,946,710

PROGRAM & EXHIBIT DEVELOPMENT 2,505,408

COMMERCIAL ACTIVITES & FUNDRAISING 1,697,895

COLLECTIONS MANAGEMENT 1,413,921

LIBRARY & ARCHIVES 711,348

DEPRECIATION & AMORTIZATION 1,339,509

$11,614,791

In the face of a challenging financial position, Glenbow management reduced operating costs by $236k: • Cost reduction is difficult to implement rapidly for organizations like Glenbow where a significant proportion of the cost base is payroll related and there are many fixed and contractual costs. A hiring freeze was implemented in the fall of 2008 and only strategically critical or revenue generating hires were permitted after this point. All projects were reviewed to determine if they could be cancelled or deferred. Variable costs decreased in some areas as a result of cost saving initiatives. • Payroll costs increased as the Glenbow honoured a 2% increase for all unionized staff required by a multiyear collective agreement with CUPE Local 1645. This agreement is effective until June 31, 2010 and a further negotiated pay increase of 3% for union staff will be due July 1, 2009. • Program and exhibit development costs were slightly less than in the previous year. There were no significant new permanent gallery development, contract or research costs. • Collections costs increased due to an unusually large number of gifts of art received by the Institute during the course of fiscal year 2009 and in the last quarter of the previous fiscal year. • Amortization costs were reduced slightly. Since the opening of the Mavericks gallery and the increasing cash flow concerns, very little investment has been made in new property, plant or equipment.

PROPERTY AND EQUIPMENT Capital expenditures amounted to only $266k during the course of 2009. Many upgrades to property, plant and equipment are now overdue and becoming increasingly urgent, but have been put on hold in fiscal year 2009 and 2010 due to cash-flow difficulties. Significant investment needs to be made in security and IT systems in particular in order for these systems to remain efficient and meet the Glenbow’s current and future needs. Most of the $266k spent in the current fiscal year was spent upgrading and replacing essential IT hardware and software and on essential collections storage upgrades to better store and care for the large number of new gifts received.

ENDOWMENT AND QUASI ENDOWMENT FUNDS The market value of Glenbow endowment and quasi endowment funds decreased substantially during the course of fiscal year 2009. By March 31, 2009 the market value of the funds was $22.7m (March 31, 2008 - $30m). This decrease 27 of over 24% of the value of the funds is of serious concern to the organization, and may significantly impact the Glenbow’s ability to continue to operate the business model that has sustained operations since the inception of the Glenbow-Alberta Institute Act of 1996.

Annual Report 2008-2009 | Glenbow Museum By resolution of the Board of Governors, Glenbow is now permitted to withdraw no more than 5.5% of the market value of the funds for operating purposes as a means of preserving the purchasing power of the funds.

The Institute continues to work with professional investment consultants to obtain advice on how best to monitor and measure the performance of its fund managers, establish the most appropriate asset mix, and review and maintain a relevant and current Investment Policy statement that complies with relevant legislation and industry best practices to ensure that the purchasing power of the endowment funds can be maintained in perpetuity. Most of the recommended policy changes were implemented in the fiscal year ending March 31, 2008. Final recommendations were implemented by March 31, 2009.

Of ongoing concern is the increasing estimated capital deficiency of $12.6m between the estimated market value of the funds adjusted for inflation and the actual market value of the funds at March 31, 2009. The maintenance of the Founding Fund at these values is a requirement of the Glenbow-Alberta Institute Amendment Act, 1996. The same principle is applied consistently to all of the endowment funds. Measures have been in place to address this issue since 2006, but capital market declines over the past two fiscal years have significantly worsened the situation and management is working to establish a more effective long-term strategy that will reduce the deficiency in the endowment fund capital while maintaining operations and ensure that the capital and investment income of all the Institute’s funds are handled appropriately with regards to the origins and restrictions around usage of the funds. An in-depth review of the ongoing performance of all funds is currently underway.

LIQUIDITY AND CAPITAL RESOURCES Fiscal year 2009 was extremely difficult to administer from a cash flow perspective. With effect from the second quarter of the year and throughout the final quarters, cash payments exceeded cash revenues substantially. By March 31, 2009 an operating deficit of $1.6m had been incurred. The cash required to sustain operations as this deficit accumulated has been funded by a credit facility of $1.5m with a Canadian chartered bank.

OPERATIONAL RISKS Economic – An economic downturn continues in the energy sector and the Calgary marketplace generally leading to a potential reduction in particular in governmental and fundraising revenues available to the organization. To reduce the risk of reliance on a strong Calgary marketplace, the Glenbow focuses on: • Trying to further diversify revenue sources • Seeking local, national and international stakeholders and supporters • Minimizing and maintaining flexibility in its operating costs • Carefully scrutinizing all expenditures that result in large fixed cost increases.

Infrastructure – An aging building which staff, our public and the provincial collection has outgrown has increasing maintenance and capital upgrade needs. To minimize risk, Glenbow ’s management and Board of Governors actively pursue and investigate new projects and opportunities that are anticipated to come to fruition in a five to ten year timeframe. 28

Leadership – Significant changes to the management structure and managerial philosophy of the organization with significant turnover at the senior management level. Risks are reduced by: • Hiring a CEO with an established history and experience of the museum world generally and Glenbow in particular

Glenbow Museum | Annual Report 2008-2009 • Striving to be an employer of choice by offering career development, leadership succession and other opportunities to staff generally.

Audience and reputation – A general trend towards declining attendance is being experienced by museums across North America and the outlook for tourism is still impacted by the US economy and concerns over public health. Risks are reduced by: • Setting conservative and achievable attendance targets • Maintaining a high profile in the local and national media • Continuing to create and profile high quality, diverse, well designed and researched exhibitions • Reviewing and updating internal policies and procedures with respect to public health issues and staying informed of new developments with respect to pandemic preparedness in Calgary, particularly in the areas of education and public health.

Human resources – The loss of qualified and knowledgeable staff and the inability to recruit qualified people, particularly those with complex specialized skills, leads to the inability to care for the collections and develop credible and engaging content for exhibitions. This risk is managed by: • Having a proactive recruitment strategy in place • Completing a job evaluation assessment for all staff positions within the organization • Multi-year collective bargaining agreements with guaranteed pay increases and enhanced benefits • Providing training and mentoring to prepare employees for increased responsibility • Supporting a wellness program that encourages a healthy lifestyle and maintaining a balance between work and personal life.

OUTLOOK As a result of recent and ongoing economic turbulence, Glenbow is facing some significant fiscal and operating challenges in the immediate future. • Glenbow currently has a one year operating contract with the Province of Alberta’s Ministry of Culture and Community Spirit. Discussions with respect to a renewed contract for care, maintenance and the provision of public access to the collections have begun; however there is a risk funding from this source may decrease given the current condition of the Alberta economy and the budgetary issues the Province itself will be facing in 2010 and 2011. • With the appointment of a new CEO and President in January of 2009, the most significant strategic planning exercise undertaken by the Glenbow since 1996 is underway. Vision, mission and mandate are being renewed and reinvigorated and a new strategic plan will be implemented in the winter of 2009/10. • Maintaining financial sustainability and growth in business operations will be critical to ensuring that Glenbow can continue to develop and expand the core services it currently provides to the community. • The Province of Alberta, through its Alberta Infrastructure and Transportation Program, is currently undertaking a major capital infrastructure project at the facility. Facility upgrades began in January 2009 and will be 29 complete by March 2010. • Glenbow remains committed to rebuilding a visual arts programs. This initiative is a key component of our strategic planning process.

Annual Report 2008-2009 | Glenbow Museum MANAGEMENT’S REPORT

The financial statements of the Institute are the responsibility of management and the Board of Governors. They have been prepared by management in accordance with accounting principles generally accepted in Canada, applied on a consistent basis.

In fulfilling its responsibilities, management has developed, and maintains, a system of internal controls designed to safeguard assets and the collection from loss or unauthorized use and ensure the accuracy of the financial records. The financial statements necessarily include certain estimates which are made after consideration of the information available and using careful judgements.

The Board of Governors exercises its responsibilities for financial controls through the Audit/Investment Committee which is comprised of Governors who are not employees of the Institute. The Committee meets with management and the external auditors to satisfy itself that the responsibility of the respective parties are properly discharged and to review the financial statements before they are presented to the Board for approval.

Deloitte & Touche LLP have examined the financial statements for the year 2009, and their report to the Board of Governors is presented herein.

Kirstin Evenden President & Chief Executive Officer

Marion A. Shill Chief Financial Officer & Corporate Secretary

Glenbow Museum | Annual Report 2008-2009 AUDITORS’ REPORT

To the Board of Governors of Glenbow – Alberta Institute

We have audited the statement of financial position of Glenbow – Alberta Institute (the “Institute”) as at March 31, 2009 and the operating fund statement and the statements of operations and changes for restricted, endowment and designated fund balances and cash flows for the year then ended. These financial statements are the responsibility of the Institute’s management. 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 plan and perform an audit to obtain reasonable assurance whether the financial statements are free of material misstatement. An audit includes examining, on a test basis, evidence supporting the amounts and disclosures in the financial statements. An audit also includes assessing the accounting principles used and significant estimates made by management, as well as evaluating the overall financial statement presentation.

In our opinion, these financial statements present fairly, in all material respects, the financial position of the Institute as at March 31, 2009 and the results of its operations and its cash flows for the year then ended in accordance with Canadian generally accepted accounting principles.

Calgary, Alberta Deloitte & Touche LLP May 21, 2009 Chartered Accountants

Annual Report 2008-2009 | Glenbow Museum STATEMENT OF FINANCIAL POSITION

OPERATING restricted, TOTAL TOTAL F UND END endowMENT AND 2009 2008 AS AT MARCH 31, 2009 D desiGNATED FUNDS ASSETS Current: Cash (Note 6) $ $413,237 $ — $ $413,237 $ $472,498 Due from operating fund — 32,914 32,914 13,891 Merchandise for resale 260,937 — 260,937 229,414 Grants and pledges receivable 568,805 — 568,805 1,851,831 Accounts receivable and accrued interest 98,124 — 98,124 121,270 Prepaid expenses 53,487 — 53,487 83,980 1,394,590 32,914 1,427,504 2,772,884

Property and equipment (Note 7) 6,020,461 — 6,020,461 7,094,454 Grants and pledges receivable after more than one year 65,000 — 65,000 230,000 Investments (Note 8) — 22,716,271 22,716,271 30,026,068 $ 7,480,051 $ 22,749,185 $ 30,229,236 $ 40,123,406

LIABILITIES AND FUND BALANCES Current: Bank Indebtedness (Note 9) $ 1,167,277 $ — $ $1,167,277 $ — Accounts payable and accrued liabilities 1,242,101 — 1,242,101 1,536,477 Due to restricted funds 32,914 — 32,914 13,891 Deferred revenue (Notes 10 and 11) 1,551,735 — 1,551,735 1,551,313 3,994,027 — 3,994,027 3,101,681 Long-term: Deferred revenue (Notes 10 and 11) 3,287,391 — 3,287,391 5,179,187

Fund Balances - Unrestricted (Note 12) 198,633 — 198,633 1,784,913 -Restricted, endowment and designated — 22,749,185 22,749,185 30,057,625 $ 7,480,051 $ 22,749,185 $ 30,229,236 $ 40,123,406

On behalf of the Board of Governors:

Mr. Lauchlan J. Currie Mr. Herb H. Snowdon Chairman of the Board Governor

32 The accompanying notes are part of these financial statements.

Glenbow Museum | Annual Report 2008-2009 OPERATING FUND STATEMENT

FOR THE YEAR ENDED MARCH 31, 2009 2009 2008 REVENUE Province of Alberta $ 3,489,000 $ 3,434,000 Investment income 19,925 40,688 Allocation of unrestricted investment income from Founding, Legacy, Collections, Library and Designated funds (Note 16) 1,646,856 1,992,564 Fundraising (Note 13) 2,021,244 3,063,151 Admissions and memberships 1,145,457 1,234,465 Museum shop 686,507 806,348 Commercial activities 245,709 303,684 Miscellaneous 11,800 162,351 Amortization of deferred revenue - property and equipment (Note 11) 762,013 703,136 $ 10,028,511 $ 11,740,387

EXPENDITURES President’s Office $ 899,700 $ 792,854 Central services 3,047,010 3,432,628 Collections 1,413,921 1,216,548 Program and exhibit development 2,505,408 2,536,768 Library and archives 711,348 701,061 Museum shop 557,806 692,421 Fund development & communications 1,140,089 1,090,403 Amortization 1,339,509 1,388,401 11,614,791 11,851,08

DEFICIENCY OF REVENUE OVER EXPENDITURES $ (1,586,280) $ (110,697)

The accompanying notes are part of these financial statements.

Annual Report 2008-2009 | Glenbow Museum STATEMENT OF OPERATIONS AND CHANGES FOR RESTRICTED, ENDOWMENT AND DESIGNATED FUND BALANCES

RESTRICTED AND ENDOWMENT FUNDS RESTRICTED AND ENDOWMENT FUNDS (cont.) DESIGNATED FUNDS 2009 2009 2008 2009 2008 FOR THE YEAR ENDED MARCH 31, 2009 FOUNDING fund leGACY FUND COLLECTIONS FUND TOTAL T OTAL T OTAL T total REVENUE Investment income Interest, dividends, capital gains and losses $ 458,376 $ $244,454 $ $117,453 $ $820,283 $ $801,803 — — Unrealised decline in investments (3,311,868) (2,081,538) (1,026,664) (6,420,070) (2,158,004) — — Allocation of unrestricted investment income to operating fund (Note 16) (822,444) (551,340) (273,072) (1,646,856) (1,992,564) — — Allocation of unrestricted investment income to restricted fund — — — — 151,771 — (151,771) Donations — 799 — 799 270,030 — 2,075 Miscellaneous — — — — — — 12,006 $ (3,675,936) $ (2,387,625) $ (1,182,283) $ (7,245,844) $ (2,926,964) $ — $ (137,690)

EXPENDITURES Investment expenses 26,381 23,886 11,823 62,090 158,219 — — Miscellaneous expenses — 500 — 500 — — — 26,381 24,386 11,823 62,590 158,219 — —

DEFICIENCY OF REVENUE OVER EXPENDITURES (3,702,317) (2,412,011) (1,194,106) (7,308,434) (3,085,183) — (137,690) Fund balances, beginning of year 14,980,271 10,067,684 4,983,334 30,031,289 33,116,478 26,330 164,020 Fund balances, end of year $ 11,277,954 $ 7,655,673 $ 3,789,228 $ 22,722,855 $ 30,031,295 $ 26,330 $ 26,330

The accompanying notes are part of these financial statements.

Glenbow Museum | Annual Report 2008-2009 RESTRICTED AND ENDOWMENT FUNDS RESTRICTED AND ENDOWMENT FUNDS (cont.) DESIGNATED FUNDS 2009 2009 2008 2009 2008 FOR THE YEAR ENDED MARCH 31, 2009 FOUNDING fund leGACY FUND COLLECTIONS FUND TOTAL T OTAL T OTAL T total REVENUE Investment income Interest, dividends, capital gains and losses $ 458,376 $ $244,454 $ $117,453 $ $820,283 $ $801,803 — — Unrealised decline in investments (3,311,868) (2,081,538) (1,026,664) (6,420,070) (2,158,004) — — Allocation of unrestricted investment income to operating fund (Note 16) (822,444) (551,340) (273,072) (1,646,856) (1,992,564) — — Allocation of unrestricted investment income to restricted fund — — — — 151,771 — (151,771) Donations — 799 — 799 270,030 — 2,075 Miscellaneous — — — — — — 12,006 $ (3,675,936) $ (2,387,625) $ (1,182,283) $ (7,245,844) $ (2,926,964) $ — $ (137,690)

EXPENDITURES Investment expenses 26,381 23,886 11,823 62,090 158,219 — — Miscellaneous expenses — 500 — 500 — — — 26,381 24,386 11,823 62,590 158,219 — —

The accompanying notes are part of these financial statements.

Annual Report 2008-2009 | Glenbow Museum STATEMENT OF CASH FLOWS

OPERATING FUND RESTRICTED FUNDS FOR THE YEAR ENDED MARCH 31, 2009 2009 2008 2009 2008

NET INFLOW (OUTFLOW) OF CASH RELATED TO THE FOLLOWING ACTIVITIES

OPERATING Deficiency of revenue over expenditures $ (1,586,280) $ ($110,697) $ (7,308,434) $ (3,222,873) Items not affecting cash Unrealised decline in investments — — 6,420,070 2,158,004 Amortization of property and equipment 1,339,509 1,388,401 — — Amortization of deferred revenue - property and equipment (762,013) (703,136) — — $ (1,008,784) $ 574,568 $ (888,364) $ (1,064,869)

Changes in non-cash working capital items 47,763 483,245 (1,357) (116,561) (961,021) 1,057,813 (889,721) (1,181,430)

INVESTING Proceeds on sale of investments, net of purchases — — 889,721 1,175,726 Proceeds (repayment) of bank indebtedness 1,167,277 (462,183) — — Purchase of property and equipment (265,517) (667,120) — — 901,760 (1,129,303) 889,721 1,175,726

NET CASH OUTFLOW (59,261) (71,490) — (5,704)

CASH, BEGINNING OF YEAR 472,498 543,988 — 5,704

CASH, END OF YEAR $ 413,237 $ 472,498 — —

The accompanying notes are part of these financial statements.

Glenbow Museum | Annual Report 2008-2009 Notes to the Financial Statements March 31, 2009

Note 1 General The Glenbow-Alberta Institute (the “Institute”) operates under the authority of the Glenbow-Alberta Institute Act, Chapter G-5, Revised Statutes of Alberta 1996, as amended. The Institute is registered as a charity under the Income Tax Act and is exempt from income tax.

Ownership of the majority of the collections is held by the Province of Alberta. The Institute is responsible for caring for the collection and providing public access. Accordingly, the collection is not included in the Institute’s financial statements.

The Institute administers seven collections with over 1.3 million objects, comprised of Cultural History, Ethnology, Military History, Mineralogy, Art, Library, Archives - paper, photographs and negatives.

All additions to the collections, including gifts, are approved by the Board of Governors. Deaccessioning of major value collection items requires approval by the Province of Alberta.

Note 2 nAture of Operations and Description of Organization The nature and business of the Institute is to provide public service through a human history museum, an art gallery, a library and archives. Future operations of the Institute are dependent upon the ability of the organization to attain sufficient funding.

The organization is comprised of six work units, the functions of which are as follows:

The President’s office carries out the functions of the overall administration of the Institute, including human resources.

Central services provides board services, accounting, budgeting and financial services, computer services, photography, purchasing, security and building services, volunteer services and carries other unallocated costs such as photocopier leases and communications.

Collections makes recommendations on the purchase and acceptance of gifts of art and artifacts and the deaccessioning of collection items, stores and conserves collection items and makes the collection available for display to the public. 37 Program and exhibit development plans, facilitates, coordinates and produces all aspects of the Institute’s activities for the public. It also includes the development of publishing programs which reflect the full range of research undertaken at the Institute. Publishing projects include catalogues, books, videos, research notes and multi-media technology.

Annual Report 2008-2009 | Glenbow Museum Library and archives acquires, catalogues, preserves and makes available to the public and staff published and archival material relating to the history of southern Alberta and Western Canada.

Fund development and communication is a division of the Institute responsible for private sector, individual donor and foundation fundraising, facility rentals, the museum shop, grant applications, commercial alliances, advertising and promotion campaigns and new business ventures.

Note 3 change in Accounting Policies

Inventories On April 1, 2008, the Institute adopted Canadian Institute of Chartered Accountants (I”CICA”) Handbook Section 3031, Inventories, retrospectively without restatement which replaced Section 3030, Inventories. This revised standard provided more guidance on the measurement and disclosure requirements for inventories. There was no material impact on the financial statements, other than modifications to the disclosures pertaining to inventories, resulting from implementation (Note 4(d)).

Capital Disclosures In October 2007, the Canadian Institute of Chartered Accountants (“CICA”) issued Handbook Section 1535 Capital Disclosures, which prescribes standards for disclosing information about an entity’s capital and how it is managed. This Section is applicable to financial statements relating to fiscal years beginning on or after October 1, 2007. Accordingly, the Institute adopted the new standard for its fiscal year beginning April 1, 2008. The adoption of this new standard has not resulted in any change in how the Institute accounts for its transactions but resulted in additional disclosure, as presented in Note 17.

Going Concern Effective April 1, 2008, the Institute adopted the additional requirement of the CICA Handbook Section 1400, General Standards of Financial Statement Presentation. This Section requires Management to make an assessment of the Institute’s ability to continue as a going concern, and to disclose any material uncertainties related to events or conditions that may cast significant doubt upon the entity’s ability to continue as a going concern. There was no impact to the financial statements arising from the adoption of this accounting pronouncement.

Financial Statement Presentation Several sections of the CICA handbook have been amended to include not-for-profit organizations within their scope. The amendments apply to interim and annual financial statements relating to fiscal years beginning on or after January 1, 2009 with the recommendation of early adoption. Accordingly, the Institute has implemented amendments to Section 4400, Financial Statement Presentation by Not- for-Profit Organizations. This implementation required the Institute to recognize and present revenue and expenses on a gross basis, given that the Institute is acting as a principal in the transactions. The Institute also adopted the elimination of the requirement to treat net assets invested in property and equipment separately as a part of net assets and instead include them as a component of net assets. The Institute retrospectively adopted this Section effective April 1, 2008. The impact of implementation resulted in a 38 reclassification of the balances on the statement of financial position in fiscal 2008.

Note 4 sIGnificant Accounting Policies and Reporting Practices These financial statements have been prepared by management in accordance with Canadian generally accepted accounting principles.

Glenbow Museum | Annual Report 2008-2009 a) Fund Accounting The Institute follows the restricted fund method of accounting for contributions. Loans and advances between the funds are recorded in each fund and are not eliminated in the fund totals on the statement of financial position.

i) Operating Fund The Operating Fund accounts for the organization’s administration activities, fundraising and the costs of maintaining and allowing public access to the collections.

ii) Restricted and Endowment Funds The Founding Fund contains the Devonian Foundation Gift and the Province of Alberta Gift: initially $5,000,000 each. Both gifts are invested in marketable securities and interest bearing deposits. A portion of the investment income earned annually thereon is required by the Glenbow-Alberta Institute Amendment Act, 1996 to be reinvested in order to maintain the value of the gifts increased by inflation. Investment income in excess of the annual inflation amount may be retained in the Fund or allocated to the Operating Fund at the discretion of the Board of Governors. If the value of the gifts falls below its inflation adjusted amount, the income of each gift should be reinvested, unless the Board of Governors approves another use of that income and complies with Section 17.1 of the Glenbow-Alberta Institute Act.

The Legacy Fund was established by the Board of Governors and is invested in marketable securities and interest bearing deposits. During 2006, additional endowment gifts were received for the development and maintenance of the Mavericks Gallery and to permanently preserve the Imperial Oil Archival Collection. These have been combined with the proceeds of the T.R. Pat McCloy Library Fund (which was established from the proceeds of a 2002 deaccessioning program of selected items which were not part of the Institute’s core mandate, or were duplicates of items accessible in the local community) and the existing Legacy Fund. The Board has specified that an amount of investment income earned thereon must be retained in the Legacy Fund (the “Fund”) in order to maintain the value of the Fund, increased by inflation. Any remaining unexpended investment income may be retained in the Fund or allocated to the Operating Fund at the Board’s discretion.

The Collections Fund was established from the proceeds of a 1995 deaccessioning program for selected international collection items which are not part of the Institute’s core mandate. The net proceeds of the deaccessioned items were credited to the Collections Fund. Expenditures from the capital are restricted to the purchase of collection items. The Board has specified that an amount of investment income earned on the Collections Fund (the “Fund”) must be retained in the Fund in order to maintain the value of the Fund, increased by inflation. Any remaining unexpended investment income may be retained in the Fund or allocated to the Operating Fund at the discretion of the Board of Governors for “the care and maintenance of the collection.”

iii) Designated Funds The Institute receives other funds which are designated for special use by donors or by the Board of Governors. It is the Institute’s policy to maintain these funds separately as Designated Funds. 39 Transfers for property and equipment asset acquisitions are made annually to the Operating Fund to the extent that Designated Funds have been expended on property and equipment. Designated Funds include grants received from various government and private agencies to finance specific projects and proceeds from the sale of Glenbow-Alberta Institute publications.

Annual Report 2008-2009 | Glenbow Museum b) Revenue Recognition Restricted contributions related to general operations are recognized as revenue of the Operating Fund in the year in which the related expenses are incurred. All other restricted contributions are recorded directly to the appropriate restricted fund when received.

Revenue from admissions and memberships, museum shop and commercial activities are recognized when the service has been provided or persuasive evidence of an arrangement exists, the price to the consumer is fixed or determinable and collection is reasonably assured.

Unrestricted contributions are recognized as revenue of the Operating Fund in the year received or receivable if the amount to be received can be reasonably estimated and collection is reasonably assured.

Operating grants are recognized as revenue in the period when receivable. Operating grants received for a future period are deferred until that future period.

Contributions to Endowment Funds are recognized as revenue in the Endowment Funds.

Investment income earned on Endowment Fund resources is recognized in the Endowment Fund. Funds are transferred to the Operating Fund in accordance with terms approved by the Board.

Other investment income is recognized as revenue of the Operating or Designated Funds when earned.

Net revenues from the deaccessioning of collections items are forwarded to the Province of Alberta on receipt for deposit into a designated account for Glenbow Museum held collections which form part of the Historic Resources Fund of Alberta Community Development. Revenues from the deaccessioning of library items are allocated to the Legacy Fund which includes the T.R. Pat McCloy Library Fund. Expenses of deaccessioning are paid from sale proceeds.

c) Donated Services A substantial number of unpaid volunteers have made significant contributions of their time to the Institute’s programs. The value of this contributed time is not included in these financial statements, since objective measurement of valuation is indeterminable.

d) Donations of books and publications Donated books and publications that would otherwise be paid for by the Institute are recorded at fair value when provided. Because of the difficulty of determining their fair value, such donated items are not recognized in these financial statements.

e) Grants and pledges receivable Grants and pledges are receivable when signed documents are received or other documents are 40 available to provide reasonable evidence of a valid grant or pledge. Allowances are provided for amounts estimated to be uncollectible.

f) Merchandise for Resale Merchandise for resale is recorded at the lower of cost or net realizable value and is relieved from inventory on a first in first out basis.

Glenbow Museum | Annual Report 2008-2009 For the year ended March 31, 2009, the sale of merchandise held for resale resulted in the recognition of expenses aggregating $327,777 (2008 - $438,092). There were $Nil in write-downs of inventory to net realizable value required as at March 31, 2009 (2008 - $Nil) and no write-down reversals have been recognized in either year. Merchandise held for resale currently carried at net realizable value aggregated $Nil (2008 - $Nil).

g) Property and Equipment Furniture and equipment is recorded at cost and is amortized on a straight-line basis over the estimated useful lives of the assets: computer equipment 33.3%, vehicles and equipment 20%, major renovations 6.67% and furniture 10%.

Leasehold improvements and travelling exhibitions are recorded at cost and are amortized over the expected lives of the improvements or exhibitions.

New permanent exhibits are recorded at cost and are amortized on a straight-line basis over the expected useful life of the exhibit 10%.

An impairment charge is recognized for long-lived assets when an event or change in circumstances causes an asset’s carrying value to exceed the total undiscounted cash flows expected from its use and eventual disposition. The impairment loss is calculated as the difference between the fair value of the assets and their carrying value.

h) Investments Investments are recorded at fair value. Any changes in fair value are recognized in income for the period and are accordingly reflected in the statement of operations and changes for endowment.

i) Financial Instruments

The Institute has classified its financial instruments as follows: Asset/liability Category Cash Held-for-trading Accounts receivable Loans and Receivables Grants & pledges receivable Loans and Receivables Long-term investments Held-for-trading Bank indebtedness Other liabilities Accounts payable and accrued liabilities Other liabilities

Held-for-trading items are carried at fair value, with changes in their fair value recognized in the Statement of Operations and Changes for Endowment in the current period. “Loans and receivables” are carried at amortized cost, using the effective interest method, net of any impairment. “Other liabilities” are carried at amortized cost, using the effective interest method. 41 At each Statement of Financial Position date, the Institute assesses whether a financial asset carried at cost is impaired. If there is objective evidence that impairment exists, the amount of the loss is measured as the difference between the carrying amount of the asset and its fair value and the carrying amount of the assets is reduced with the loss being recognized in the Statement of Operations and Changes for Endowment and Designated Fund Balances.

Annual Report 2008-2009 | Glenbow Museum Based on a review of the Institute’s contracts, management has determined that there are no embedded derivatives that are required to be accounted for separately as derivatives. The Institute does not engage in hedging activities.

Cash, grants and pledges receivable, accounts receivable and accrued interest, investments, bank indebtedness and accounts payable and accrued liabilities constitute financial instruments. Based on available information, the carrying value of the Institute’s cash, accounts receivable and accrued interest, bank indebtedness and accounts payable and accrued liabilities approximates fair value as at March 31, 2009 and 2008 due to their short-term nature. Investments are long-term in nature and are recorded at fair value (Note 8).

The Organization’s financial risks are as follows

equity risk The Institute’s endowment and designated fund assets include a large portion of equities. These assets are invested in pooled funds managed professionally by a fund manager appointed by the Board of Directors. The fund manager is governed by an Investment Policy of the Board of Directors, which places certain parameters on investments. The performance of the fund manager is routinely assessed by the Investment Committee of the Board of Directors. The Audit and Investment Committee has authority to make certain changes to asset mix to ensure that the investments are as secure as possible. The value of equities changes in concert with the business, financial condition, management and other relevant factors affecting the underlying organization that issued the securities. In addition, general economic conditions of the markets in which such organizations operate, change, thereby exposing the Institute to fluctuations in value of investments. The fair market value of the managed portfolio at March 31, 2009 is $22,716,271 (2008 - $30,026,068), with 82.2% (2008 – 79.6%) invested in equities (Note 8).

liquidity risk In the current economic environment, the Institute may be subject to liquidity risk if required to realize its long term investments in the near term. This risk is mitigated by the fact that the investments are not intended to be realized in the short term.

Interest rate risk The Institute is exposed to interest rate risk given that its investments have varying maturity dates. Accordingly, if interest rates decline, the Institute may not be able to reinvest the maturing investment at a rate similar to that of the balance maturing thereby causing fluctuations in investment income.

Foreign exchange risk Because a portion of the Institute’s investment portfolio and cash accounts are denominated in foreign currencies, the Institute is exposed to fluctuations in those currencies. At March 31, 2009, the foreign content of the managed portfolio was 13.7% (2008 ‑13.2%) (Note 8). 42 credit risk Management is of the opinion that the Institute is not exposed to credit risk. The Institute’s ability to fundraise may fluctuate over time, however the Institute’s grants and pledges receivable are not concentrated in one particular sector or group, but are received from a broad variety of individuals and organizations.

Glenbow Museum | Annual Report 2008-2009 j) Transaction costs Transaction costs incurred for the acquisition or disposition of all financial assets and liabilities are recorded in the statement of operations and changes for endowment and designated fund balances when incurred.

k) Use of Estimates The preparation of financial statements in conformity with GAAP requires management to make estimates and assumptions that affect the reported amounts of assets and liabilities and disclosures of contingent assets and liabilities at the date of the financial statements and the reported amounts of the revenues and expenses during the reporting period. The most significant of these estimates are related to the allowances of doubtful grants, pledges and accounts receivable, amortization period for and potential impairment of property and equipment and the accrual of interest and accrued liabilities. Actual results could differ significantly from these estimates.

Note 5 Future Accounting Changes Financial Instruments Effective for years beginning on or after October 1, 2008, the Institute may elect to adopt the provisions of the CICA Handbook Section 3862, Financial Instruments Disclosures, and Section 3863, Financial Instruments Presentations. These sections require the disclosure of information with regards to the significance of financial instruments of the Institute’s financial position and performance, the nature and extent of risks arising from financial instruments to which the Institute is exposed during the year and at the statement of financial position date, and how the Institute manages those risks. These standards replace CICA Handbook Section 3861, Financial Instruments. The Institute is presently considering whether or not it will adopt these sections effective April 1, 2009. If adopted, it is expected that the only effect will be incremental disclosure.

Financial Statement Presentation Several sections of the CICA Handbook have been amended to include not-for-profit organizations within their scope. The amendments apply to interim and annual financial statements relating to fiscal years beginning on or after January 1, 2009. The main features of the amendment are as follows:

• Cash Flow Statements, Section 1540. This Section has been amended to include not-for-profit organizations within its scope; • Disclosure of Related Party Transactions by Not-for Profit Organizations, Section 4460. This Section has been amended to make the language in Section 4460 consistent with Section 3840 Related Party Transactions; • Disclosure of Allocated Expenses by Not-for Profit Organizations, Section 4470. This new Section establishes disclosure standards for not-for-profit organizations that choose to classify their expenses by function and allocate expenses from one function to another. The main features of the new section are: – A requirement for an entity that allocates its fundraising and general support expenses to other functions to disclose the policies adopted for the allocation of expenses among functions, the nature of the expenses being allocated, and the basis on which such allocations have been 43 made; and – A requirement for an entity to disclose the amounts allocated from each of its fundraising and general support functions and the amounts and functions to which they have been allocated.

The Institute is currently evaluating the impact of these new sections on its financial statements.

Annual Report 2008-2009 | Glenbow Museum Note 6 externally Restricted Cash Balances Major categories of externally imposed restrictions on cash balances are as follows: 2009 2008 Restricted for “Artist’s Proof - Prints and Printmaking” project $ 19,005 $ 114,230

Note 7 property and Equipment 2009 2008 Accumulated Net Book Net Book Cost Amortization Value Value

Furniture and equipment $ 8,121,162 $ 6,553,326 $ 1,567,836 $ 1,842,335 Leasehold improvements 3,481,138 2,928,916 552,222 750,798 Permanent gallery construction 5,114,166 1,213,763 3,900,403 4,501,321 Travelling exhibitions 367,810 367,810 — — $ 17,084,276 $ 11,063,815 $ 6,020,461 $ 7,094,454

Included in Permanent Gallery Contruction is the Mavericks Gallery in which amortization began in fiscal 2008, the same year the Gallery was completed and available for use.

Note 8 Investments 2009 2008 Market Value Founding Fund 11,275,581 14,978,096 Legacy Fund 4,730,852 6,222,456 Collections Fund 3,787,594 4,982,523 Library Fund 1,798,578 2,365,650 Mavericks Fund 1,123,666 1,477,343 $ 22,716,271 $ 30,026,068

Common and preferred stocks 18,663,134 23,912,032 Bonds, debentures and mortgages 3,998,832 5,666,458 Cash and short-term deposits 54,305 447,578 $ 22,716,271 $ 30,026,068

Externally Managed Funds Portfolio Weighting 2009 2008 % %

Pooled bonds and cash 17.8 20.4 Equities Canadian 68.5 66.4 United States 7.0 6.3 Other foreign 6.7 6.9 100.0 100.0

Note 9 bAnk Indebtedness Bank indebtedness includes advances under the Institute’s demand credit facility as of year end. On October 27, 2008 the Institute renewed its demand credit facility in the amount of $1,500,000 with a 44 Canadian chartered bank. The facility bears interest at the bank’s prime rate plus 1% per annum and is provided on an unsecured basis.

Glenbow Museum | Annual Report 2008-2009 Note 10 Deferred Revenue - Expenses of future periods Deferred revenue consists of contributions which the donor has restricted to a specific purpose. These amounts are only recognized as income when expenditures meeting the restriction are made. The Institute complies with these external restrictions.

Changes in the deferred revenue - expenses of future periods are: 2009 2008

Balance, beginning of year 1,485,939 2,273,944 Plus: Contributions received 1,667,888 1,181,833 Less: Amount recognized as revenue during the year (2,206,366) (1,969,838) Balance, end of year $ 947,461 $ 1,485,939

Deferred revenue related to expenses of future periods which will be recognized as revenue in less than twelve months is $803,040. The amount which will be recognized in more than twelve months is $144,421.

Note 11 Deferred Revenue - Property and equipment Deferred revenue related to property and equipment represents unamortized amounts of property and equipment which have been donated to the Institute.

Changes in the deferred revenue-property and equipment are: 2009 2008

Balance, beginning of year 5,244,561 5,947,697 Less: Grants not utilized (590,883) — Less: Amount recognized as revenue during the year (762,013) (703,136) Balance, end of year $ 3,891,665 $ 5,244,561

Deferred revenue related to property and equipment which will be recognized as revenue in less than twelve months is $748,695. The amount which will be recognized in more than twelve months is $3,142,970.

Note 12 Changes in Operating Fund Balance Changes in the Operating Fund balances were comprised of: 2009 2008 Balance, beginning of year $ 1,784,913 $ 1,895,610 Deficiency of revenue over expenditures (1,586,280) (110,697) Balance, end of year $ 198,633 $ 1,784,913

Note 13 Fundraising Fundraising revenues of $2,783,257 (2008 - $3,766,287) in the operating fund and $799 (2008 - $272,105) in the endowment and restricted funds include cash donations to the Institute and do not include donations of art, artifacts and archival material to the collections which are owned by the Province of Alberta.

All contributions received were applied to the charitable activities and the associated operating 45 overheads of the organization. Contributions in excess of 10% of the total gross contributions recognized as revenue during the year amounted to $627,308 and was applied to the redevelopment of the permanent galleries on the third floor.

Annual Report 2008-2009 | Glenbow Museum The expenses incurred for the purposes of soliciting contributions were $168,032 (2008 - $145,490). Remuneration to employees whose principal duties involve fund-raising amounted to $349,427 (2008 - $338,042).

The approximate dollar amount of the tax receipts issued by the Institute for items donated to the collection in 2009 amounted to $3,258,487 (2008 - $279,548). Tax receipts for amounts greater than $1,000 are supported by independent appraisals.

Note 14 Pension Obligations The Institute has a defined contribution plan which is available to all full-time and permanent part-time employees. Under the terms of the plan, the Institute matches contributions of up to 5% of employee earnings. In 2009, the Institute contributed $205,868 (2008 - $209,036) in connection with the plan.

Note 15 Donated Services The Glenbow Centre is leased to The City of Calgary by the Province of Alberta for a nominal amount of one dollar per year. The City of Calgary, in turn, subleases it to the Institute for the same amount per year. Fair market value of the rental has not been determined. The City of Calgary also provides janitorial, maintenance and utility services for the Glenbow Centre at no cost to the Institute. The value of the services as determined by The City of Calgary based on actual costs was $1,557,544 for the year ended March 31, 2009 (2008 - $1,405,632). This amount has not been included in the Operating Fund statement.

Note 16 Allocation of Unrestricted Investment Income As disclosed in Note 4(a)(ii), investment income earned on the funds must be retained in the respective funds in order to maintain the value of the funds, increased by inflation. Management has estimated the value of the funds at March 31, 2009 adjusted for inflation, as follows: Founding Fund $17,953,321 (which is a requirement of the Glenbow-Alberta Institute Amendment Act, 1996), Legacy Fund $10,963,669, and Collections Fund $6,397,213 (both of which are a requirement of the Board of Governors) for a total calculated value to be maintained of $35,314,203. At March 31, 2009, the actual market value of these funds is: Founding Fund $11,275,581, Legacy Fund $7,653,096 and Collections Fund $3,787,594, for a total market value of $22,716,271. Thus there is a deficiency in the capital of each of the funds which is estimated to be $6,677,740 for the Founding Fund, $3,310,573 for the Legacy Fund, and $2,609,619 for the Collections Fund, for a total estimated capital deficiency of $12,597,932.

Section 16 (1) of the Glenbow-Alberta Institute Act requires that any capital deficiency in the Founding Fund must be addressed. To this end, the Board of Governors has been examining appropriate measures to address this deficiency and a process to resolve the issue was begun with the passing of a board motion at a meeting of the Board of Governors on November 26, 2008. This strategy needs to be implemented within the next year to continue the viability of the operations of the Institute.

The Board has unrestricted authority to manage and expend the income from all other restricted funds. For the sake of simplicity, these funds are managed consistently with the Founding Fund to comply with the spirit of the relevant sections of the Glenbow-Alberta Institute Act. Management is tracking internal 46 investment restrictions as it is their long-term objective to build the internally restricted funds.

During the year, a total of $1,646,856 (2008 - $1,992,564) was allocated from the funds to the general operating fund in order to maintain general operations. As this source of funding is a large component of the general operating budget, management must formulate a long-term strategy to achieve the goals of reducing the deficiency in the fund capital while maintaining operations. Management is in the process

Glenbow Museum | Annual Report 2008-2009 of developing this strategy. The allocations from the endowment funds to general operations have continued after year end. The estimated amount owing back to the funds from the general operating fund, being the capital deficiency of the funds, has not been reflected on the statement of financial position. The estimated capital deficiency will fluctuate from time to time based on market fluctuations and investment portfolio performance.

Note 17 Management of Capital The Institute defines its capital as the amounts included in its Fund balances.

The Institute sets the amount of Fund balances in proportion to risk, manages the Fund structure and makes adjustments in light of changes in economic conditions and the risk characteristics of the underlying assets.

The Institute’s objective when managing capital is to safeguard its ability to sustain itself as a going concern so that it can continue to provide the appropriate level of benefits and services to its members and stakeholders.

A proportion of the Institute’s capital is restricted in that the Institute is required to meet certain requirements to utilize its endowment fund balances. (Note 16) The Institute has internal control procedures in place to ensure the restrictions are met prior to utilization of these resources and has been putting measures in place to ensure that it remains in compliance with these restrictions throughout the year.

Management and the Board of Governors carefully considers fundraising campaigns, grants, sponsorship, investment income and the Institute’s contractual relationship with the Province of Alberta to ensure that sufficient funds will be available to meet the Institute’s short and long-term objectives.

The Institute monitors its financial performance against an annual budget. Surpluses from unspent operational activities are accumulated under Unrestricted Fund Balances. In the event that revenues decline, the Institute will budget for reduced distributions and reduced operational expenditures. While an annual budget deficit may periodically arise, no such deficit shall be allowed to exceed the total funds available under the Unrestricted Fund Balances.

Annual Report 2008-2009 | Glenbow Museum BOARD OF GOVERNORS

Founder Past Chair Eric Harvie,* O.C., C.D., Q.C. Ian A. Bourne Corporate Secretary and Treasurer Board of Governors Marion Shill Board Chair Assistant Corporate Secretary Lauchlan J. Currie Vacant

Vice-Chairs Past Chairs George E. Bezaire, Chair, Development Committee Eric L. Harvie,* O.C., C.D., Q.C., 1954–1966 Gail O’Brien The Hon. Mr. Justice N.D. McDermid,* Q.C., 1966–1969 Governors James C. Mahaffy,* 1969–1970 Ian A. Bourne W. Donald C. Mackenzie,* 1970–1974 Brian Calliou The Hon. Douglas S. Harkness,* O.C., 1974–1977 John Cardiff Jane T. Edwards,* 1977-1980 Richard Cormack D. Edwin Lewis,* C.D., Q.C., 1980–1984 Anne Crawford E. David D. Tavender, Q.C., 1984–1988 Joanne Cuthbertson, Chair, Collections & Catherine Evamy, 1988–1991 Access Committee Frederick F. Abbott, 1991–1994 Kirstin Evenden, President & CEO J. Sherrold Moore, 1994–1997 Rod Green Robert G. Peters, 1997–2000 Robert J. Herdman A. Webster Macdonald, Jr., Q.C., 2000–2002 James P. Keough, Chair, Governance Committee Randal L. Oliver, 2002–2004 Donna Livingstone *deceased Jean Merriman Dr. Vettivelu Nallainayagam Fellows Michael J. Robinson Robert M. Borden Richard A. Shaw, Q.C. N. Glenn Cameron Herb H. Snowdon, C.A., Chair, Audit & Catherine M. Evamy Investment Committee Robert R. Janes, Ph.D. Myron Stadnyk The Hon. E. Peter Lougheed, P.C., C.C., Q.C. Jack Thrasher, Q.C. Joy Maclaren Michael P. Robinson, C.M. Board Community Representatives E. David D. Tavender, Q.C. Larry Birchall Dr. Anne E. Calvert HONOURARY APPOINTMENTS Lance Carlson Patricia Ainslie, Curator Emeritus of Art Bonnie Dumont Dr. Hugh Dempsey, Chief Curator Emeritus Phyllis Konrad Dr. Marmie P. Hess, O.C., L.L.D., Associate Researcher 48 Ralph Klein, Curator Emeritus of Blackfoot Ethnology Joy Maclaren, Curator Emeritus of Blackfoot Ethnology Ewa Smithwick, Conservator Emeritus

Glenbow Museum | Annual Report 2008-2009 GLENBOW IN THE COMMUNITY

In September 2008, Glenbow Museum partnered with the TORODE Group of Companies to bring a major public art installation to Calgary. Glenbow is grateful to the owners of this sculpture who have generously loaned the work for a period of five years. Dennis Oppenheim’s sculpture, Device to Root Out Evil, a six metre tall glass, steel and aluminum sculpture depicting an upside down church, has been installed in Calgary’s neighbourhood of Ramsay. At Ramsay Crossing, this compelling sculpture offers all Calgarians an opportunity to be inspired, challenged, excited and engaged by Dennis Oppenheim’s internationally acclaimed work. The artist’s work is in some of the most prestigious collections in the world including the Tate Gallery in London, England and the Metropolitan Museum of Art in New York City.

Visit Dennis Oppenheim’s sculpture, Device to Root Out Evil, in the neighbourhood of Ramsay at 803 – 24 Avenue S.E. Upcoming exhibitions

Real Life: Ron mueck and guy ben-ner Organized by the National Gallery of Canada October 17, 2009–January 24, 2010

michael nicoll Yahgulanaas Exploring Haida Manga October 17, 2009–January 24, 2010

connections to collections: Jeff thomas and paul Wong October 24, 2009–February 21, 2010

War brides: one Way passage November 6, 2009–February 14, 2010

the nude in modern canadian Art February 13, 2010–April 25, 2010

Kent monkman: the triumph of mischief February 13, 2010–April 25, 2010

130 – 9 Avenue S.E., Calgary, AB. 403.268.4100 www.glenbow.org