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John Gassner
John Gassner: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Gassner, John, 1903-1967 Title: John Gassner Papers Dates: 1894-1983 (bulk 1950-1967), undated Extent: 151 document boxes, 3 oversize boxes (65.51 linear feet), 22 galley folders (gf), 2 oversize folders (osf) Abstract: The papers of the Hungarian-born American theatre historian, critic, educator, and anthologist John Gassner contain manuscripts for numerous works, extensive correspondence, career and personal papers, research materials, and works by others, forming a notable record of Gassner’s contributions to theatre history. Call Number: Manuscript Collection MS-54109 Language: Chiefly English, with materials also in Dutch, French, German, Greek, Hebrew, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish, and Turkish Access: Open for research Administrative Information Acquisition: Purchases and gifts, 1965-1986 (R2803, R3806, R6629, G436, G1774, G2780) Processed by: Joan Sibley and Amanda Reyes, 2017 Note: The Ransom Center gratefully acknowledges the assistance of the Gladys Krieble Delmas Foundation, which provided funds to support the processing and cataloging of this collection. Repository: The University of Texas at Austin, Harry Ransom Center Gassner, John, 1903-1967 Manuscript Collection MS-54109 Biographical Sketch John Gassner was a noted theatre critic, writer, and editor, a respected anthologist, and an esteemed professor of drama. He was born Jeno Waldhorn Gassner on January 30, 1903, in Máramarossziget, Hungary, and his family emigrated to the United States in 1911. He showed an early interest in theatre, appearing in a school production of Shakespeare’s The Tempest in 1915. Gassner attended Dewitt Clinton High School in New York City and was a supporter of socialism during this era. -
Untitled
The Journal of Perpetrator Research (JPR) is an Issue Editors inter-disciplinary, peer-reviewed, open access Dr Susanne C. Knittel (Utrecht University) journal committed to promoting the scholarly Dr Stéphanie Benzaquen-Gautier study of perpetrators of mass killings, political (University of Nottingham) violence, and genocide. The journal fosters scholarly discussions General Editors about perpetrators and perpetratorship across Dr Susanne C. Knittel (Utrecht University) the broader continuum of political violence. Dr Emiliano Perra (University of Winchester) JPR does not confine its attention to any Dr Uğur Ümit Üngör (Utrecht University) particular region or period. Instead, its mission is to provide a forum for analysis of perpetrators Advisory Board of genocide, mass killing and political violence Dr Stephanie Bird (UCL) via research taking place within the fields of Dr Tomislav Dulic (Uppsala University) history, criminology, law, forensics, cultural Prof. Mary Fulbrook (UCL) studies, sociology, anthropology, philosophy, Prof. Alexander L. Hinton (Rutgers University) memory studies, psychology, politics, litera- Prof. A. Dirk Moses (University of Sydney) ture, film studies and education. In providing Prof. Alette Smeulers (University of Tilburg) this interdisciplinary and cross-disciplinary Prof. Sue Vice (University of Sheffield) space the journal moves academic research on Prof. James Waller (Keene State College) this topic beyond, and between, disciplinary boundaries to provide a forum in which robust Copyeditor and interrogative research and cross-curricular Sofía Forchieri (Utrecht University) discourse can stimulate lively intellectual en- gagement with perpetrators. Layout & Typesetting JPR thus not only addresses issues related Sofía Forchieri (Utrecht University) to perpetrators in the past but also responds Dr Kári Driscoll (Utrecht University) to present challenges. -
Framework 2/18
FrameWork 2/18 Lauren Fournier on Althea Thauberger the reparative practice of re-performing Legend: - - -> performativityi ~~~ interpellationii (a) re-performing In Althea Lorraine, Althea Thauberger stages a performative intervention into the NFB’s archives, fixating on the figure of Lorraine Althea Monk. The artist sees herself in her, maybe: her name sandwiched between this historical figure’s first name and surname: Althea.iii A point of connection. It’s not the only one. Both are women, both have worked as producers and directors of a sort, in different contexts and in different ways. Lorraine Monk was the executive producer of the NFB’s still image division circa 1967: she developed “The People Tree” for Expo 67’s Canadian Pavilion in Montreal. And now, fifty years later, we reach another point of nationalistic relevance: the sesquicentennial. Artists revolt, protest, subvert. Althea Thauberger develops the film L’arbre est dans ses feuilles (The tree is in its leaves), which is shown in Montreal in the MAC’s 2017 exhibition In Search of Expo 67. Lorraine Monk, this figure of white womanhood, of nation-building, of middle-class Canadiana. She’s problematic and we’re paranoid.iv Objects like grey cards, a work desk, a glass ceiling. Monk’s eyes looking downward, then up: at least she gets to see. Althea is attuned to the rhythms of re-performing. This is an integral part of her practice: re-performing, re- casting. Now, Althea moves from her place behind the camera, from her role as director, to the role of director-actor, director-artist, she begins to pose. -
Katherine Tweedie Fonds (P126)
Concordia University Records Management and Archives Finding Aid - Katherine Tweedie fonds (P126) Generated by Access to Memory (AtoM) 2.3.0 Printed: September 30, 2016 Language of description: English Concordia University Records Management and Archives 1455 de Maisonneuve West, H-1015 Montreal Quebec Canada H3G 1M8 Telephone: 514-848-2424, x 7970 Email: [email protected] http://www.concordia.ca/offices/archives.html http://concordia.accesstomemory.org/index.php/katherine-tweedie-fonds Katherine Tweedie fonds Table of contents Summary information ...................................................................................................................................... 3 Administrative history / Biographical sketch .................................................................................................. 3 Scope and content ........................................................................................................................................... 3 Notes ................................................................................................................................................................ 4 Access points ................................................................................................................................................... 4 - Page 2 - P126 Katherine Tweedie fonds Summary information Repository: Concordia University Records Management and Archives Title: Katherine Tweedie fonds ID: P126 Date: 1978-1982 (date of creation) Physical description: ca. -
Tournant Artistique » Du Service De La Photographie De L'onf, 1960-1978
UNIVERSITÉ DU QUÉBEC À MONTRÉAL LE « TOURNANT ARTISTIQUE» DU SERVICE DE LA PHOTOGRAPHIE DE L'ONF, 1960-1978: MUTATION DU STATUT DE LA PHOTOGRAPHIE ET CONSTRUCTION DE SA VALEUR ARTISTIQUE DANS LE CONTEXTE CANADIEN MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES DES ARTS PAR JULIE-ANN LATULIPPE DÉCEMBRE 2009 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement noa des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entrainent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je voudrais d'abord remercier mon directeur de recherche, Vincent Lavoie. Son enseignement, ses conseils et les nombreuses opportunités de recherche qu'il m'a offerts dans les dernières années ont été des plus déterminants dans mon parcours. -
Riverside Secondary School Yearbook 1961-1962
University of Windsor Scholarship at UWindsor Essex County (Ontario) High School Yearbooks Southwestern Ontario Digital Archive 1962 Riverside Secondary School Yearbook 1961-1962 Riverside Secondary School (Windsor, Ontario) Follow this and additional works at: https://scholar.uwindsor.ca/essexcountyontariohighschoolyearbooks Part of the Public History Commons Recommended Citation Riverside Secondary School (Windsor, Ontario), "Riverside Secondary School Yearbook 1961-1962" (1962). Essex County (Ontario) High School Yearbooks. 106. https://scholar.uwindsor.ca/essexcountyontariohighschoolyearbooks/106 This Book is brought to you for free and open access by the Southwestern Ontario Digital Archive at Scholarship at UWindsor. It has been accepted for inclusion in Essex County (Ontario) High School Yearbooks by an authorized administrator of Scholarship at UWindsor. For more information, please contact [email protected]. 1-62 IVERSIDE E B 6 E L I 3. 332 0 V 6 .; .::,' I J 2 Public library Dnal Collection Essex County Branch of The Ontario Genealogical Society (EssexOGS) Active Members: Preserving Family History; Networking & Collaborating; Advocates for Archives and Cemeteries This yearbook was scanned by the Essex County Branch of The Ontario Genealogical Society in conjunction with the Leddy Library on the campus of the University of Windsor for the owners of the book. The EssexOGS yearbook scanning project is for preservation and family history research purposes by the Essex County Branch membership. This document is made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder and cannot be used for any commercial purposes, and may not be altered. -
June 1954 2 the Poslgrad ,======OUR COVER======.-, ALUMNI AWARD WINNER: One of the Most Popular Students at Sir George
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CANADIAN PHOTOGRAPHY MAGAZINES 1970–1990 Reconsidering a History of Photography in Print
Notes 1 For a good overview of photographic art in Canada, see Martha Langford, “A Short History of Photography, 1900–2000,” in Brian Foss, Anne Whitelaw and Sandra Paikowsky eds., The Visual Arts in Canada: The Twentieth Century (Don Mills, ON: Oxford University Press, 2010), 279– 311. 2 See especially Martha Langford, “Introduction,” in Contemporary Canadian Photography from the Collection of the National Film Board (Edmonton, Alta: Hurtig Publishers, 1984), 7–16. 3 For an inciteful application of the notion of “field of art” to photography, specifically in 1970s Montreal, see Lise Lamarche, “La photographie par la bande. Notes de recherche à partir des expositions collectives de photographie à Montreal (et un peu ailleurs) entre 1970 et 1980,” in Francine Couture ed., Exposer l’art contemporain du Québec. Discours d’intention et d’accompagnement (Montreeal: Centre de diffusion 3D, 2003), 221–265. 4 The first issue of Impressions was printed in Toronto in March 1970. The original editors were John Prendergrast and John F. Philips, co-founder of the Baldwin Street Gallery of Photography, Toronto. Subsequent co-editors would include Shin Sugino and Isaac Applebaum. The magazine aimed to showcase photographers whose work is “too personal to find an automatic commercial market.” In October 1970, the first issue of Image Nation appeared in Toronto. Edited variously by David Hlynsky, Fletcher Starbuck and others, it succeeded the Rochdale College Image Nation, published in 1969–1970 by a printing collective based at the short-lived “alternative” Rochdale College, Toronto. Image Nation was aimed primarily at photographic artists active within the parallel gallery network across Canada. -
Gabor Szilasi, the Art World in Montreal, 1960-1980–On Emotion
Document generated on 10/01/2021 10:09 a.m. Ciel variable art, photo, médias, culture Gabor Szilasi, The Art World in Montreal, 1960-1980–On Emotion and the Photographic Archive Gabor Szilasi, Le monde de l’art à Montréal, 1960-1980–De l’émotion dans les archives photographiques Zoë Tousignant Sortie publique Going Public Number 108, Winter 2018 URI: https://id.erudit.org/iderudit/87622ac See table of contents Publisher(s) Les Productions Ciel variable ISSN 1711-7682 (print) 1923-8932 (digital) Explore this journal Cite this article Tousignant, Z. (2018). Gabor Szilasi, The Art World in Montreal, 1960-1980–On Emotion and the Photographic Archive / Gabor Szilasi, Le monde de l’art à Montréal, 1960-1980–De l’émotion dans les archives photographiques. Ciel variable, (108), 22–31. Tous droits réservés © Les Productions Ciel variable, 2018 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Gabor Szilasi The Art World in Montreal | Le monde de l’art à Montréal, 1960‒1980 Opening of the Claude Tousignant exhibition at the Galerie Sherbrooke, Montreal, May 1969 / Vernissage de l’exposition de Claude Tousignant à la Galerie Sherbrooke, Montréal, mai 1969 Rita Letendre explaining a work at the opening of her exhibition at the Galerie Gilles Corbeil, Montreal, November 1980 / Rita Letendre expliquant une œuvre au vernissage de son exposition à la Galerie Gilles Corbeil, Montréal, novembre 1980 François Dallegret and Yves Gaucher at an opening at the Galerie Godard Lefort, Montreal, September 1968 / François Dallegret et Yves Gaucher lors d’un vernissage à la Galerie Godard Lefort, Montréal, septembre 1968 Irene F. -
Photography ‘75: the Still Photography Division’S “Women’S Show” As an Act of Subtle Protest
Carleton University Render Volume 7 Photography ‘75: The Still Photography Division’s “Women’s Show” as an Act of Subtle Protest Katie Lydiatt Art History (SSAC), Carleton University, Ottawa, Canada Abstract This paper examines a largely under-explored exhibition organized by the Still Photography Division in Ottawa in 1975, appropriately titled Photography ‘75. Featuring the works of eighty-three women photographers, the show was organized around the distinction of the year 1975 as the International Year of the Woman. Although it claimed to capture a “feminine way of seeing” and a national vision of Canadian life, this exhibition marked a significant contribution to the history of Canadian photography through its engagement with contemporary debates surrounding photography as art, and women’s roles as practitioners of the medium. While the exhibition’s opinions on women and photography date itself, it was successful at professionalizing women artists and contributing to collections of female photographers in the Canadian Museum of Contemporary Photography (CMCP) and the Canadian Photography Institute (CPI) at the National Gallery of Canada (NGC). Keywords: Canadian Women’s Photography, Photography ’75, Still Photography Division, International Year of the Woman, Canadian Women’s Art History, Contemporary Canadian Photography, Suzy Lake, Lynne Cohen, Barbara Astman photography, and a challenge to examine some worn stereotypes about In the summer of 1975, the National Film art, women, and the world in general. Board’s Still Photography Division exhibited over Featuring new concepts, new artists, 100 works by eighty-three female Canadian new perspectives in traditional photographers in honour of International Year of realization, and new formats exploring the Woman. -
John Reeves Fonds
MG 276 – John Reeves fonds Dates: 1962-1998 (inclusive); 1974-1977 (predominant). Extent: 95 colour transparencies; 44 colour slides; 60 photographs; textual records. Biography: John Reeves was born in Burlington, Ontario, in 1938, and graduated from the Ontario College of Art in 1961. Well known particularly for his portrait photography, Reeves’ work has appeared in virtually every Canadian periodical. His photographic and written essays have included works on Jean Vanier, Elizabeth Smart and Germaine Greer; and he provided photography for the books Debrett's Illustrated Guide to the Canadian Establishment and John Fillion - Thoughts about My Sculpture. John Reeves was a member of the Royal Canadian Academy of Arts. Reeves died at Toronto in 2016. Scope and content: This fonds contains Reeves’ images of women, primarily Canadian, and involved in the arts: musicians, artists, authors, actors. Arrangement: This fonds has been arranged into the following series: A. Portraits of Women, 1974-1977. B. “30 Portraits of Women” Exhibition - 1977. C. Prints. – 1962-1998. D. Artists and Writers - Primarily West Coast. - 1977-1978, 1985. Restrictions: There are no restrictions on access. Accession Numbers: 2002-077, 2005-076. John Reeves retains copyright. Original finding aid by Cheryl Avery, 2003. Reformatting by Joanne Abrahamson, 2020. Box 1 A. Portraits of Women, 1974-1977. - 95 7x7 cm colour transparencies. Many of these portraits were originally commissioned by Lorraine Monk, then head of the NFB Still Photo Division, in part to document Canadian women of achievement during the International Year of the Woman (1975). 1. Doris Anderson. - 1975. Editor, author; Toronto. 2. Margaret Atwood. - 1975. -
A Short History of Photography, 1900–2000 Martha Langford
Chapter 14 A Short History of Photography, 1900–2000 Martha Langford Photography was an invention of the early Consider next the photographic document, nineteenth century. By 1900 photography was well established for its utility and authenticity less than a century old, although in Canada, as after some 75 years of application to portraiture, elsewhere, it was already enmeshed in philosophical architecture, engineering, ethnography, debates that would mark its development over the archaeology, and industry. Arthur S. Goss next hundred years and enlarge the photographic (1881–1940) was a founding member of Toronto’s presence in art and communication. Studio Club. His pictorialist work was recognized Consider first the impact of the Kodak, internationally, but he was far more prolific in his the original roll film camera invented in 1888 professional work for the City of Toronto: starkly by George Eastman, which launched the mass realist images that reported on the health and amateur photography market. Recording the welfare of the urban population, as well as the rituals and high moments of Canadian family progress of public works. Photographic documents life, the snapshot could also be used to capture in the form of lantern slides, posters, booklets, natural phenomena, the modern city, and visual and prints were also being commissioned by the poetics. Amateur associations and camera clubs Canadian government, private railways, and land formed around these enthusiasms. At the same companies to entice European farmers to migrate time, amateurs dedicated to the art and craft to the West. These photographs were composed to of photography viewed mechanization and spark recognition and ease fears of the Canadian mass production as vulgarizing the medium wilderness.