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Ryerson’s English as an Additional Language Institute Real English – Intensive Program ED. 2,2018 ryerson.ca/realinstitute TORONTO CANADA REAL ENGLISH – INTENSIVE PROGRAM INTERMEDIATE TO ADVANCED CULTURAL AND SOCIAL EVENTS OPTIONAL – PRICES LISTED IN CANADIAN DOLLARS ARE SUBJECT TO CHANGE Come to Toronto The Real English – Intensive Program offers you a fully customized language Blue Jays Baseball Game $30 – $80 and immerse learning experience focused on yourself in intensive listening, speaking, reading and writing Canada’s Wonderland $70 skills in English. Our instructors are Casa Loma $40 leaders in the field of English language English language Toronto Centre Island $20 acquisition who integrate technology learning comple- and students’ lived experiences into Ripley’s Aquarium $25 mented by social the classroom. Examples of the Fort York $10 flexible, theme-based curriculum of Royal Ontario Museum $16 and cultural the Real English – Intensive Program experiences in include modules on Marketing, Art Gallery of Ontario $16 Canada’s most lively New Media, Sustainability, Creative Identities and Consumerism. EXCURSIONS AND OVERNIGHT TRIPS and diverse city. OPTIONAL – PRICES LISTED IN CANADIAN DOLLARS ARE SUBJECT TO CHANGE Niagara Falls $60 – Day trip includes transportation, wine tour and tasting, visit to Niagara-on-the-Lake PROGRAM BENEFITS EXPERIENTIAL ACTIVITIES French Canada $270 – Ottawa, Montreal and Quebec City – INCLUDED IN THE PROGRAM FEE INCLUDED IN THE PROGRAM FEE two-night trip • 20 hours of learning experiences • The Power Plant, per week Contemporary Art Gallery PROGRAM FEE ACCOMMODATIONS • Welcome package and orientation • InterAccess, New Media Gallery The program fee is determined by: HOMESTAY • Customized textbooks and • Digital Media Zone, World’s #1 • Number of students in class; The Real Institute has partnered with classroom materials university-based incubator classes are capped at 20 Canada Homestay Network to provide • Experiential activities • Ryerson Image Centre, Photographic • Specific ESL/EAL module(s) excellent accommodation with a Gallery and Research Centre • Airport pick-up requested Canadian family. • Brickworks Environmental Centre, • Comprehensive emergency health • Optional Cultural Program(s) RESIDENCES Community Environmental Centre insurance through GuardMe selected During the summer months, • MaRS Discovery District, PROGRAM LENGTH University residences are available. Entrepreneurial Ventures Site A minimum of four weeks and up to 12 weeks. FOR MORE INFORMATION FOR CURRENT FEES, PLEASE VISIT FOR A QUOTE, PLEASE CONTACT OR APPLICATION FORMS, PLEASE VISIT ryerson.ca/realinstitute/apply [email protected] ryerson.ca/realinstitute.

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1 HUGH MARTIN Ryerson University, Toronto BFA (Photography Studies)
HUGH MARTIN Curriculum Vitae EDUCATION 2002 Ryerson University, Toronto B.F.A. (Photography Studies), Honours SELECTED EXHIBITIONS 2002-2018 Toronto International Art Fair. Mira Godard Gallery, Toronto 2017 Hugh Martin: Studio Window. Mira Godard Gallery, Toronto 2016 From the Collection. Curated by Anna Jedrzejowski. Ryerson Image Centre, Toronto 2012 Hugh Martin: Silent Lake. Mira Godard Gallery, Toronto. 2010 Photographs. Mira Godard Gallery, Toronto 2007 Hugh Martin: The Great Forest. Mira Godard Gallery, Toronto 2007 Collected. Ryerson Gallery, Toronto 2007 About the Landscape. Mira Godard Gallery, Toronto 2004 Hugh Martin: New Photographs. Mira Godard Gallery, Toronto 2004 Views of Hamilton. Arts Hamilton Gallery, Hamilton 2004 Hugh Martin: Dutch Landscape. Arts Hamilton Gallery, Hamilton 2002 Summer Landscape. Mira Godard Gallery, Toronto 2000 Hugh Martin: Of the City. Ryerson Image Arts Gallery, Toronto 1999 The Photography Lesson. Harbourfront Centre, Toronto PUBLICATIONS & INTERVIEWS Mira Godard Gallery: Silent Lake. Exhibition Catalogue including essay: "Hugh Martin: Sanctuary" written by John K. Grande, 2012 PREFIX PHOTO #16: Walking & Consciousness, "Walls" Portfolio, Nov. '07, pp.20-27. The Walrus, "Hugh Martin: Young Romantic" Interview/Photos, Dec/Jan 2006, pp.110-11. Hammered Out #8 (Hamilton). Several photographs published in Winter/Spring 2006. Arts Beat (Hamilton), "Dutch Landscape" Artist's statement published, Nov. 2004 issue. Cable 14 (Hamilton). Interviewed for "Drawn & Quartered" exhibition, Sep. 2002. 1 GRANTS
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A Case Study of Daniel Libeskind's Roloff Beny Gallery
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery Laura E. Hayward Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Hayward, Laura E., "Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery" (2012). Theses and dissertations. Paper 1399. This Thesis is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. PHOTOGRAPHIC EXHIBITION IN THE ANTI-CUBE GALLERY: A CASE STUDY OF DANIEL LIBESKIND’S ROLOFF BENY GALLERY by Laura Elizabeth Hayward Bachelor of Arts, History in Art, Business, University of Victoria, 2010 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2012 © Laura Elizabeth Hayward 2012 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research.
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Eamon Mac Mahon CV
Eamon Mac Mahon b.1976 407-60 Montclair Ave, Toronto ON, M5P 1P7 tel 1 647 893 9777, [email protected] books 2014 - "High Tails", Capricious Publishing NYC 2014 - "Flash Forward Tenth", Magenta Publishing for the Arts, Toronto/Boston 2013 - "The Petropolis of Tomorrow", photo essays and articles edited by Neeraj Bhatia and Mary ! Casper, Actar NYC 2013 - "Problemata Physica", Ohja Books, Germany 2009 - "Water", a collection of works by a diverse group of artists and writers, edited by John ! ! Knechtel, MIT Press 2006 - "Carte Blanche Volume 1", a compendium of Canadian photographers, Magenta Publishing ! for the Arts solo exhibitions 2015 - 'Fathoms', Circuit Gallery, (at Preﬁx Institute of Contemporary Art), Toronto, September 2014 - 'Amazon of the North', Toronto Pearson International Airport/No.9, December - June 2015 2013 - 'Currents', The Museum, Kitchener, October - January 2014 2013 - 'Cape Contrary', Magenta's Flash Forward Festival, Boston, July - September 2011 - 'Islands in the Woods' , Bau Xi Photo, Toronto, October 2010 - 'Landlocked', Bau Xi Photo, Toronto, March 2009 - 'Landlocked', Exposure Gallery, Ottawa, September 2008 - 'Ice Fields', Pikto Gallery, Toronto, July-August 2008 - 'Landlocked and Aerials', Toronto Pearson International Airport, May 2008-May 2009 2006 - 'The Last Twenty Days', The Drake Hotel, Toronto, May 2005 - 'Window Seat' , the Embassy, Toronto, August 2004 - 'Sleepwalking', York Quay Gallery (Harbourfront Centre), Toronto, March-May selected group exhibitions 2015 - 'Tension', Format Festival,
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Famcam News Winter 2017
VOL. 2, ISSUE 2 FAMCAM NEWS WINTER 2017 Keeping in touch with The Family Camera Network Winter Update from PI, Thy Phu Happy Holidays! 2017 has been an incredibly productive year for The Family Camera Network. Through collecting activities we have collected over ten-thousand photographs and almost thirty interviews. We curated an original exhibition, presented at the Royal Ontario Museum and the Art Gallery of Mississauga, and we organized a major conference, which sought to reframe family photography. Additionally, through public talks, tours, and panels, we shared our research endeavors and our collection with the public. This newsletter offers a snapshot of a successful and enriching year and it highlights some things to look forward to in the New Year. Thank you everyone for all of your efforts and warm wishes this holiday season. Recent Events & Activities SSHRC Partnership Active Teams & Committees The Family Camera Development Grant Royal Ontario Museum (May 6 – Oct. 29) and Art Gallery of Mississauga (May 4 – Aug. 27) Steering Team Curated by Deepali Dewan (lead), Jennifer Orpana, Thy Phu, Julie Crooks & Sarah Bassnett, Co-Applicants Thy Phu (PI) with Silvia Forni & Sarah Parsons Thy Phu (PI) Sarah Bassnett The Family Camera explored the relationship between photography and the Sarah Bassnett Elspeth Brown Elspeth Brown Deepali Dewan idea of family, and it looked at family photographs as a cultural practice Deepali Dewan Sarah Parsons through the lens of migration. With nearly every photograph featured in this Sarah Parsons exhibition coming from a Canadian home, The Family Camera shed light on Collecting Team Collaborators Deepali Dewan (Lead) how family photos reflect and shape our sense of self, family, community, Nadine Attewell Nadine Attewell and nation.
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Les Numéros En Bleu Renvoient Aux Cartes
210 Index Les numéros en bleu renvoient aux cartes. I13th Street Winery 173 Banques 195 The Upper Deck 64 Tranzac Club 129 37 Metcalfe Street 153 Barbara Barrett Lane 124 Velvet Underground 118 299 Queen Street West 73 Bars et boîtes de nuit Woody’s 78 314 Wellesley Street East 153 beerbistro 85 Bellwoods Brewery 117 Baseball 198 397 Carlton Street 152 Bier Markt Esplanade 99 Basketball 198 398 Wellesley Street East 153 Birreria Volo 122 Bata Shoe Museum 133 Black Bull Tavern 85 Beaches Easter Parade 199 Black Eagle 78 Beaches International Jazz Bovine Sex Club 117 Festival 200 A Boxcar Social 157 Accessoires 146 Beach, The 158, 159 Brassaii 85 Beauté 115 Activités culturelles 206 Cabana Pool Bar 60 Aéroports Canoe 85 Bellevue Square Park 106 A Billy Bishop Toronto City Castro’s Lounge 161 Berczy Park 96 Airport 189 C’est What? 99 Bickford Park 119 Toronto Pearson Clinton’s Tavern 129 Bière 196 International Airport 188 Crews 78 Aga Khan Museum 168 Bijoux 99, 144 Crocodile Rock 86 Billy Bishop Toronto City INDEX Alexandra Gates 133 dBar 146 Airport 189 Algonquin Island 62 Drake Hotel Lounge 117 Bird Kingdom 176 Alimentation 59, 84, 98, 108, El Convento Rico 122 Black Bull Tavern 74 115, 144, 155, 161 Elephant & Castle 86 Allan Gardens Free Times Cafe 122 Black Creek Pioneer Village 169 Conservatory 150 Hemingway’s 146 Alliance française de Lee’s Palace 129 Bloor Street 139, 141 Toronto 204 Library Bar 86 Blue Jays 198 Annesley Hall 136 Madison Avenue Pub 129 Bluffer’s Park 164 Annex, The 123, 125 Melody Bar 117 Brigantine Room 60 Antiquités 84, 98 Mill Street Brew Pub 99 Brock’s Monument 174 N’Awlins Jazz Bar & Grill 86 Architecture 47 Brookfield Place 70 Orbit Room 122 Argent 195 Brunswick House 124 Pauper’s Pub 129 Argus Corp.
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Stan Douglas Born 1960 in Vancouver
This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Stan Douglas Born 1960 in Vancouver. Lives and works in Vancouver. EDUCATION 1982 Emily Carr College of Art, Vancouver SOLO EXHIBITIONS 2020 Stan Douglas: Doppelgänger, David Zwirner, New York, concurrently on view at Victoria Miro, London 2019 Luanda-Kinshasa by Stan Douglas, Plug In Institute of Contemporary Art, Winnipeg, Canada Stan Douglas: Hors-champs, Western Front, Vancouver Stan Douglas: SPLICING BLOCK, Julia Stoschek Collection (JSC), Berlin [collection display] [catalogue] 2018 Stan Douglas: DCTs and Scenes from the Blackout, David Zwirner, New York Stan Douglas: Le Détroit, Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg 2017 Stan Douglas, Victoria Miro, London Stan Douglas: Luanda-Kinshasa, Les Champs Libres, Rennes, France 2016 Stan Douglas: Photographs, David Zwirner, New York Stan Douglas: The Secret Agent, David Zwirner, New York Stan Douglas: The Secret Agent, Salzburger Kunstverein, Salzburg [catalogue] Stan Douglas: Luanda-Kinshasa, Pérez Art Museum Miami (PAMM) Stan Douglas: The Secret Agent, Victoria Miro, London Stan Douglas, Hasselblad Center, Gothenburg, Sweden [organized on occasion of the artist receiving the 2016 Hasselblad Foundation International Award in Photography] [catalogue] 2015 Stan Douglas: Interregnum, Museu Coleção Berardo, Lisbon [catalogue] Stan Douglas: Interregnum, Wiels Centre d’Art Contemporain, Brussels [catalogue] 2014 Stan Douglas:
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Photography: the Black Box of History Symposium, March 16-17, 2018
Photography: The Black Box of History Symposium, March 16-17, 2018 Organized by: Dr. Thierry Gervais, Associate Professor, Ryerson University and Head of Research, Ryerson Image Centre, Toronto Dr. Jason Hill, Assistant Professor, University of Delaware, Newark (DE) DESCRIPTION Developed by cyberneticists, the analytical concept of the black box is deployed “whenever a piece of machinery or a set of commands is too complex” (Ashby, 1956, 86). Photography is the black box par excellence, permitting image-makers and viewers alike to focus on inputs and outputs without regard to the machinery in between. Both the camera and the image, in their apparent simplicity, obscure complex technical and cultural operations. Scholars of society and media as varied as Bruno Latour and Vilém Flusser have observed this condition, the latter describing photography as “a super-black- box made up of black boxes” (Flusser, 1983, 71). This obscurity has made photography a difficult object to place at the centre of historical practice. Historians have tended to ignore the presence of the black box and simply place its inputs and outputs at the centre of their descriptions of the world, an approach that has led – if not compelled – them to undertake “the most magical tricks, [to] build descriptions of the world that, ultimately, are based not in presumed knowledge but in ignorance” (Glanville, 2007, 189). How might historians begin to reckon with photography’s black box? First, we must open these boxes, and call their contents to testify. Opening the black boxes that are photographs makes them testify to the image-making activities that produced them: activities that structure the lives of various countries and communities, in artistic circles and in family settings, in professional and amateur environments.
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Social Enterprise Models in Canada—Ontario
Brouard, McMurtry, & Vieta (2015) Vol. 6, No 1 Spring / Printemps, 2015 pp. 63 – 82 Canadian Journal of Nonprofit and Social Economy Research Revue canadienne de recherche sur les OBSL et l’économie sociale Social Enterprise Models in Canada—Ontario Francois Brouard Carleton University J.J. McMurtry York University Marcelo Vieta University of Toronto ABSTRACT The objective of this article is to examine social enterprises in Ontario, Canada, as part of the “Social Enterprises Models in Canada” research of the International Comparative Social Enterprise Models (ICSEM) Project. The report presents an analysis of the historical, contextual, and conceptual understanding of social enterprises in Ontario. Five cases studies illustrate social enterprise models, and the article then presents the main institutions in Ontario related to social enterprises, describing legal framework, public policies, university institutions, networks, spaces, and funding agencies and programs. RÉSUMÉ Dans le cadre du projet Modèles d’entreprises sociales au Canada de l’International Comparative Social Enterprise Models (ICSEM), l’objectif du présent article est d’examiner les entreprises sociales en Ontario, Canada. Le rapport présente une analyse historique, contextuelle et conceptuelle pour comprendre les entreprises sociales en Ontario. Cinq études de cas illustrent les modèles d’entreprises sociales. Les principales institutions liées aux entreprises sociales en Ontario, tel que le cadre législatif, les politiques publiques, les établissements universitaires, les réseaux, les espaces, les organismes de financement et les programmes, sont décrites. KEYWORDS / MOTS CLÉS : Ontario; Social enterprises; Models / Ontario; Entreprises sociales; Modèles To be notified about new ANSERJ articles, subscribe here / Afin d'être avisé des nouveaux articles 63 dans ANSERJ, s’inscrire ici .
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Fall 2017 September – December 2017
exhibitions / programs / events Fall 2017 September – December 2017 ISBN 978-1-894212-56-4 2017 is a landmark year for The Power Plant, as the gallery ushers in its 30th Anniversary Year against the backdrop of Canada’s sesquicenten- nial. This year, The Power Plant aims to inspire visitors to consider who lived and co-existed on the land before the 1867 Confederation, and to explore the consequences of a colonial past on our present , in Canada and beyond. all year, all free As we enter The Power Plant’s third exhibition season of 2017, we pause to acknowledge the importance of the aLL YEAR, aLL FREE program. Thanks to the support of BMO Financial Group, the gallery is able to eliminate admission fees, enabling all visitors, young and old, to access our exhibitions. Join us all year long at The Power Plant, where admission is always FREE. PResenteD By OVERVIEW Fall 2017 at The Power Plant This season, view three major solo exhibitions by artists hailing from three different regions, each presenting pertinent subject matter that invites the public to consider our current social and political landscape and the broader global context, all against the backdrop of Canada’s 150th. Argentinean artist Amalia Pica presents ears to speak of, which continues her exploration of the nature of communication, semiotic systems, metaphor and the shaping of thought through language. As well, Pica furthers her investigation into obsolete technologies and the failures and photo Henry Chan impossibilities of communication. Sammy Baloji, Congolese photographer, and gallery after hours at Student Night; and we welcome Filip De Boeck, Belgian anthropologist, present children and their parents to join our Power Kids Urban Now: City Life in Congo, an exhibition which art workshops.
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SJMA Members at the $75 Level and Above Can Enjoy Benefits at the Following Museums: Western Museum Group (WMG)
Reciprocal Membership Privileges: Museum members at the Dual/Family ($75) level and above receive reciprocal privileges at museums affiliated with the Western Museum Group (WMG). Those at the Advocate ($150) level and above also receive reciprocal privileges at museums in both the Museum Alliance Reciprocal Program (MARP), Reciprocal Organization of Associated Museums (ROAM) and also the North American Reciprocal Membership (NARM) programs. Please check with institution for their reciprocity policy. SJMA Members at the $75 level and above can enjoy benefits at the following museums: Western Museum Group (WMG) California Museum of Craft and Folk Art, SF Santa Barbara Museum of Art Other Western States Carnegie Art Museum, Oxnard Museum of Photographic Arts, San Diego Seymour Marine Discovery Center Bellevue Art Museum, WA Fresno Art Museum National Steinbeck Center The Museum of Art & History, Santa Cruz Missoula Art Museum, Montana Fresno Metropolitan Museum Orange County Museum of Art UCR California Museum of Photography Phoenix Art Museum, AZ Long Beach Museum of Art Pacific Asia Museum, Pasadena University Art Museum, Santa Barbara Tucson Museum of Art and Historic Block, AZ Museum of Contemporary Art, San Diego & LaJolla San Jose Museum of Quilts and Textiles The Contemporary Museum, Honolulu SJMA Members at the $150 level and above can also enjoy benefits at the following museums: Museum Alliance Reciprocal Program (MARP) North American Reciprocal Membership (NARM) Reciprocal Organization of Associated Museums (ROAM) Alaska San Diego
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View the Gallery Branch Art Collection
THE COLLECTION AT CIBC WOOD GUNDY GALLERY BRANCH CIBC World Markets Inc. 200 King Street West, Suite 1807 Toronto ON M5H 3T4 PHOTOGRAPHY: Robert Burley ARCHITECT: Kuwabara Payne McKenna Blumberg MAIN RECEPTION WORKS BY JOHN MASSEY JOHN MASSEY LOCATION — Reception The Jack Photographs #35 – 40 1992-95 6 silver gelatin prints edition 2/5 24 x 23 inches each shown: photos 38, 39 PHOTOS Courtesy of the Artist The inevitability of technology to maim the senses and privilege vision as the dominant sense preceptor at the expense of all others is here poignantly expressed. For Massey, the computer is also the puppet. It is not just the mannequin but the computer as well that represents an agent external to the self that may enact our wishes. Massey’s interrelated images of flesh and wood, sensory organs and mechanical joints in The Jack Photographs suggest to the viewer that the body is the site of perception and memory,not just the mind alone. For Massey, the notion of watching or looking at something is also an exercise in self-perception and forms another meaningful ellipsis to The Jack Photographs.The question of self-perception, how the tools of observation intercede, and how the mind works its anxious response, its motivations, and its insights are each puzzling experiences and difficult to explain but perhaps, in electronic art, possible.The visual codes Massey embeds in this artwork are an encryption that underscores the effects of working with photography in combination with other media. Jack is the foil through which the artist engages perception as subject, identity or self-awareness as object, and the structure of vision as content.
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Selected Solo Exhibitions
MARLA HLADY / marlahlady.com curriculum vitae BIOGRAPHY: BORN in Edmonton, Alberta, CANADA EDUCATION: MFA, York University (Toronto), Faculty of Graduate Studies (1990) BFA (Honours), University of Victoria, Faculty of Fine Arts (1987) REPRESENTED BY: Jessica Bradley Art + Projects (Toronto) UPCOMING EXHIBITIONS: 2013 VOLUME: HEAR HERE, Justina M. Barnicke Gallery (Toronto, Canada) (group exhibition, curated by Christof Migone) CIRCLING THE INVERSE SQUARE, KWAG (Kitchener Waterloo Art Gallery, Canada) (group exhibition, curated by Shannon Anderson) SELECTED SOLO EXHIBITIONS: 2012 FTG OF BIRDS (FIVE THOUSAND GENERATION OF BIRDS) (Fitjar Islands, Norway) (residency and exhibition) WALLS, Hallwalls Contemporary Arts Center, Buffalo (NY) 2011 ROOMS, Oakville Galleries (Canada) SET TO SET, Jessica Bradley Art + Projects, Toronto 2009 PLAYING PIANO, Robert Langen Gallery (Wilfred Laurier University, Waterloo, Canada) 2008 CURTAIN MACHINE, site work in Görlitzerstrasse 49, Berlin (Germany) PLAYING PIANO, Robert McLaughlin Gallery (Oshawa, Canada) PLAYING PIANO, YYZ Artist Outlet (Toronto, Canada) 2007 DRAWINGS AND SOUND OBJECTS, Rodman Hall Arts Centre (Brock University, St. Catherines, Canada) 2006 NEW DRAWINGS AND AUDIO OBJECTS, Jessica Bradley Art + Projects (Toronto) 2005 WILDERNESS TOURIST, Canada Quay at Harbourfront Centre (Toronto) 2004 MARLA HLADY, Owens Art Gallery (Sackville, New Brunswick, Canada) 2003 SHE MOVES THROUGH THE FAIR (PIPE WHISTLE), Durham Art Gallery (Durham, Canada) SHE MOVES THROUGH THE FAIR (PIPE WHISTLE) and THE ONLY
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