OCAD University Open Research Repository

2011 Sketch Diamond, Sara

Suggested citation:

Diamond, Sara (2011) Sketch. Fall 2011 . OCAD University, Toronto, Canada. Available at http://openresearch.ocadu.ca/id/eprint/1295/

Open Research is a publicly accessible, curated repository for the preservation and dissemination of scholarly and creative output of the OCAD University community. Material in Open Research is open access and made available via the consent of the author and/or rights holder on a non-exclusive basis. Fall 2011 The magazine of OCAD University

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OCAD University at 135 years A glimpse into our past, 135present and future Fall 2011 The magazine of OCAD University

A MOMENT AT OCAD UNIVERSITY Roly Murphy’s drawing class, circa 1935/36 Contents

Past OCAD U’s Physical Evolution 4 Timeline: 1876 to 2011 8 Arthur Lismer on Art Education 10 Student Works: 1920s to 1990s 12 Establishing Design in Canada 14 Environmental Stewardship 16 International Presence 17 Present Our New Visual Identity 18 Teaching Art Today 22 The Idea of an Art & Design University 23 Digital Technology in the Classroom 24 What Students are Making Today 26 Engaging Accessibility Culture 28 96th Annual Graduate Exhibition 30 Future Who We Are: Students at OCAD U 32 A Triple Threat for Ontario 34 The Power of Design 36 Research that Makes a Difference 37 The Evolution of Curating in Canada 38 The Art of the App 40 Four Alumni to Watch Out For 44

OCAD University (ocad.ca) is Canada’s “University of the Imagination,” dedicated to art and design education, practice and research, and to SKETCH knowledge and invention across a wide range of disciplines.

President and Vice-Chancellor Dr. Sara Diamond Produced by OCAD U Marketing & Communications Department Return undeliverable copies to: Chancellor Catherine (Kiki) Delaney Editor Cameron Ainsworth-Vincze OCAD University Chair, Board of Governors Robert Montgomery Copy Editor Jen Cutts 100 McCaul Street, Toronto, Ontario Canada M5T 1W1 Vice-President, Academic Dr. Sarah McKinnon Portraits of Deans by Professor Terry Shoffner Telephone 416.977.6000 Associate Vice-President, Research, and Dean, Design Hambly & Woolley Inc. Facsimile 416.977.6006 Graduate Studies Dr. Helmut Reichenbächer Special thanks to: Paola Aron Badin, Lynn Austin, ocad.ca Associate Vice-President, Students Deanne Fisher Cidalia Braga Paul, Kevin Boothe, Karen Henry, Scott Hillis, Dean, Faculty of Art Dr. Vladimir Spicanovic Caroline Langill, Sarah Mulholland, Jason Northway-Frank, Note: The views and opinions expressed in this publication are Dean, Faculty of Design Dr. Gayle Nicoll Patricia Pastén, Victoria Sigurdson, Steve Virtue, Jeff Zoeller those of its contributors and do not necessarily reflect Dean, Faculty of Liberal Arts & Sciences and School of OCAD University policy or position. Interdisciplinary Studies Dr. Kathryn Shailer Charitable Registration #10779-7250 RR0001 Chair, OCAD U Foundation John Vivash Canada Post Publications Agreement #40019392 On the Cover InfoViz for Social Media by Gabe Sawhney. A map President, Alumni Association Maggie Broda Printed on recycled paper of the people he follows on Twitter, and the people they follow. 2 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 3 President’s here are No Limits to Message Imagination sions and brand identities that speak to their As a specialized institution, OCAD U has geophysical and social conditions. OCA, widened its arms to nurture individual talent Canada’s first independent art and design while enabling unprecedented collaborative school, housed leading members of the Group experiences and partnerships with industrial of Seven and Canada’s homegrown breed and not-for-profit partners, along with top-tier of industrial and graphic designers whose researchers. The Aboriginal Visual Culture authoritative imagery captured the popular Program: Art, Design and Media celebrates imagination as Canada came of age. While and accelerates practice and scholarship in an continuing a passionate allegiance to Canada, alliance with Aboriginal communities across OCAD U has internationalized—our student Canada. The application of our specialized population, faculty, curriculum and partner- knowledge to broad interdisciplinary collabora-

Photo by Tom Sandler Photo by Tom ships represent more than 50 countries. tions has catapulted OCAD U into a research Who would have thought that when it opened Fearless and well-founded ideas lead to and innovation leader in fields such as strategic Governor its doors in 1876 that the Ontario School of economic and social gains. OCAD University’s foresight, Aboriginal visual culture, data visual- Art, located at 14 King Street West and home to alumni and faculty have contributed to ization, wearable technologies, health and 25 students, would become OCAD University prosperity at home and abroad—carrying a design, sustainability, new media art history, General’s with more than 4,000 students in a mixture of significant portion of the more than $9 billion inclusive design and mobile technology. undergraduate and boutique graduate programs. per year of cultural sector GDP in Toronto Throughout its 135 years, OCAD In recognition of this evolving mission, OCAD alone and some $12 billion in Ontario. Beyond University has been a city builder, whether Message University adopted the moniker “University of art and design, our alumni are everywhere— through the creation of the Grange at the north the Imagination” five years ago. Our goal was in financial services, law, medicine, biology, end of Grange Park that was designed by to capture the compelling, calculated risks that government and information and communica- George Reid to be the first building in Canada artists, designers and media-makers take at every tions technologies. OCAD U gave them the for the sole purpose of art education, or the de turn. We wanted to encapsulate the vibrant tools to succeed whatever their career choice, facto creation of an OCAD U district that passion and energy that have resounded in the and we celebrate them as we turn 135! became Queen Street West. The Sharp Centre school’s studios, classrooms and laboratories for OCAD University upholds the traditions for Design created by British architect Will parts of three centuries. of studio-based experiential learning—we are Alsop has become a symbol of the combined Our institution strove to stay ahead of flexible, critically informed and intimately power of art and design and OCAD changing times, as reflected in a series of engaged with the world around us. Our University—gorgeous and smart. name changes: the Toronto Art School (1886- strategic plan, Leading in the Age of Enjoy the pages that follow as we celebrate 1890), the Central Ontario School of Art Imagination, offers the New Ecology of our history, our present and look towards and Industrial Design (1890-1912), then the Learning: a call to excellence that places the the future. Ontario College of Art (OCA) (1912-1996), lens of art, design and media on burning Ontario College of Art and Design (OCAD) issues such as sustainability, health and — DR. SARA DIAMOND (1997-2010), and now OCAD University. wellness, cultural diversity and globalization, Emerging nation-states are transfixed with contemporary ethics and the invention of the challenge of establishing cultural expres- technologies in our ubiquitous digital future.

It is an honour to be joining Canada’s students and faculty contribute to jobs, pros- “University of the Imagination” as it celebrates perity and social enterprise. Chancellor’s its 135th anniversary. Since its founding in OCAD U’s mission is to provide its students 1876, OCAD University has been a hub of with the resources, skills and opportunities to cultural and economic activity in Toronto, succeed in their academic, professional and Message connecting the city and the nation to leading- personal pursuits. The achievements of our edge thinking in art and design. students over the past 135 years are testaments Strongly rooted in its rich history, OCAD U to OCAD U’s reputation as one of Canada’s is going through an exciting transformation of premier art and design institutions—a solid creative adventure, academic exploration and distinction we aim to build upon well into the unprecedented entrepreneurialism. 21st century and beyond. Evidence of such tremendous change is Lieutenant reflected in the numerous new partnerships — CAThERINE (KIKI) DELANEy we have created with industry leaders, technology innovators, government and Governor’s investors, as well as the building of a business Photo by Bruce Zinger accelerator to ensure that our graduating Message 4 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 5 Normal School (1912) PAST

The Grange (1921) McCaul Street loop at Grange Park (1929)

nly a tiny handful of buildings have the power to change a same Georgian style as the original Grange, city, or at least the way it is perceived. In Toronto, the Sharp which dates from 1817. When it opened on Centre for Design at OCAD University is one of them. September 30, 1921, it was the first purpose- O Designed by award-winning British architect Will Alsop, built art school in Canada. OCAD UNIVERSITY’S this unique structure is known around the world. Since it Its appearance is a testament to the opened in 2004, pictures of this remarkable facility have pioneering role played by George Reid, who PHYSICAL EVOLUTION circulated widely. In the process, they have raised awareness of the school and had been appointed principal of OCA in 1920. created a new image of Toronto as a city willing to be bold, take risks and A farm boy born in Wingham, Ontario, in think outside the grid—if not the box. 1860, he himself had been a student at the FROM A SMALL BUILDING Sitting on a series of 12 brightly coloured steel “stilts” 11 storeys (26 metres) Ontario School of Art before travelling to above street level, the Sharp Centre redefined OCAD U and with it, art school Philadelphia and then Paris to study painting. ON KING STREET WEST architecture. Though controversial at the time, Alsop’s “flying tabletop,” as it’s A tireless champion of the visual arts, Reid known locally, has quickly become a Toronto icon. Not everyone loves it, but was a pivotal figure in the history of Toronto. no one denies it has had a tremendously positive influence on the city and has Best known for his murals (Old City hall, TO THE ICONIC SHARP helped bring a notoriously conservative community into the 21st century. Jarvis Collegiate and others), as well as Of course, the Sharp Centre is just one of a number of architectural episodes genre paintings such as The Foreclosure of the that comprise the history of the school. Indeed, OCAD U’s story is one that Mortgage (1893), Reid was a tireless activist CENTRE FOR DESIGN mirrors not just changing attitudes to the city, but also to art and art education. who helped to lay the foundations of Toronto’s When the institution was founded in 1876, as the Ontario School of cultural infrastructure. By Christopher Hume Art, it was housed in a building at 14 King Street West that has long since his struggles to have the visual arts accepted disappeared. Needless to say, back then the city was a much smaller place and as part of the provincial education system kept residents’ ability to get around it was limited. In other words, things had to be him busy for decades. As he wrote in the OCA close or they were inaccessible. Student Manual in 1927: “Art education has By 1882, the faculty had become part of the Department of Education and been begging for a long time for its proper moved to the Normal School complex, now incorporated by Ryerson University. place in the scheme of Education as a whole, It too was situated well within the heart of the city, an indication both of the and is only now coming into its own.” city’s inherent understanding of the importance of art and also of art education. Interestingly, Reid argued that OCA should After that, the school seems to have changed locations and names every few be affiliated with the University of Toronto years. It spent time (1886 to 1890) at the corner of Queen and yonge Streets, so students could graduate with a degree. before going back to King Street West where it shared premises with the Art That dream wouldn’t be realized until decades Museum of Toronto at the Princess Theatre from 1890 to 1910. At this point, later when OCAD (Ontario College of Art & it was known as the Central Ontario School of Art and Industrial Design. Design) became OCAD University. When the theatre was torn down to make way for the expanding street grid, “There is hope,” Reid wrote in that same the school had to search for a new home once again. But it was also during this manual, “that through making Art a subject period that the Provincial Legislature passed the “Act Incorporating the Ontario for matriculation and eventually by creating College of Art.” Queen’s Park voted for OCA to receive an annual grant of $3,000 a degree of Bachelor of Fine Arts in the in addition to giving the college a free room back at the Normal School that it had University that higher Art Education in vacated almost 30 years earlier. Ontario may receive full recognition and go Not until the 1920s did the institution construct its own building. Situated freely on its way with the development of the at the north end of Grange Park, the new premises were designed in the aesthetic side of our life.”

Summer School in Port Hope (1924) H. Hoover Library and Archives Dorothy photos courtesy of OCAD University’s Archival 6 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 7

For an idea of how different Toronto was Toronto-Dominion Centre, two projects that says, “it emerged that no one wanted a building a century ago and what Reid was up against, helped bring the city into the modern age. on the south parking lot. I tended to agree consider that in 1921 the college had all of Though more modest in scope and budget, with them. So I asked the question: ‘Where 330 students and a staff of 13 teachers, three 100 McCaul reflected changes that were do you put the building?’ The idea of putting assistants, a principal and vice-president. The unfolding not just in architecture but in the the building on legs emerged from talking to school’s funding consisted of an annual stipend arts in general. The new school looked to the people—including the neighbours. The truth of $400 from the Department of Education and future, not—as was the case with the 1927 is that I did not know I was going to do that. about $300 from the city. In 1910, OCA’s entire Grange addition—to the past. In Toronto, the But it solved a huge number of problems. budget added up to a grand total of $3,377. 1950s and early 1960s was the era of Painters And despite what people might think, we got When Reid departed in 1929, he was Eleven, a pioneering group of abstract the building permit in just 12 days.” succeeded by J.E.h. MacDonald, best known artists—many graduates of OCA—who For one thing, Alsop’s scheme meant that as one of Canada’s finest painters and a introduced non-figurative painting to the city. the building did not have to be closed down member of the legendary Group of Seven. By the time British architect Will Alsop for two or three years while construction 100 McCaul (1950s) 100 McCaul Street (1960s) After him, in 1933, came Fred haines, also a was selected to design the Sharp Centre in took place. Once the steel skeleton had painter. haines occupied the position until 2000, the McCaul premises were showing been constructed—a job that took place 1952, by which time the college was set to their age. OCAD was starting to look like during summer holidays and attracted large enter another period of growth. It was a late-model high school, a bit rundown crowds—the rest of the work was relatively operating summer courses in Port hope, and verging on shabby. When the federal/ straightforward. Ontario, and had taken over William provincial infrastructure funding program Another major advantage of Alsop’s houston Public School in downtown SuperBuild was launched in the 1990s, approach was that it allowed for the creation Toronto in what is now york University’s many cultural and educational organizations of an open space beneath the “tabletop” Glendon College. Located at Lawrence and recognized it for what it was—a chance to get connecting Grange Park on the west with Bayview Avenues, it was a bit further afield. their hands on some desperately needed cash. McCaul on the east. That plan made a lot Finally, on January 27, 1957, OCA Alsop, who by his own admission was of sense. The impulse to fuse these various opened its new consolidated campus at barely aware of Toronto, heard about the components into a single multi-faceted 100 McCaul Street, where it remains to this project from a Canadian colleague. Despite urban entity is appropriate in a city that day. The building unveiled back then was a the fact that his bid submission didn’t include has only recently started to value itself as a well-intentioned exercise in modernism. a design, he made the shortlist and travelled city. As Alsop pointed out when he won the Restrained rather than exuberant, the complex hurriedly to the city. “I was back in London commission, the public realm on McCaul consisted of a set of glass-and-brick boxes that by Monday,” Alsop recalls, “and they called needed attention; what better way to provide faced onto the street. Though it must have on Tuesday and said we’d like you to do it. that than by “dragging” the park through to seemed the last word in architecture at the I had made it clear in the interview that I the sidewalk. “Apart from the legs, it’s a very time, it has since become one of those semi- didn’t know what I was going to do. I wanted simple form,” he explains. “you don’t have heritage structures not yet old enough to be the design to be an inclusive process. I wanted to carve it up into strange shapes to make it considered historical. That will happen in to include everyone in the conversation.” interesting, or make something people enjoy.” time, no question. Even now, the building Some architects might be leery of such Though the initial reaction was mixed— 100 McCaul Street (1957) speaks of a moment of extraordinary openness, but not Alsop. Indeed, his willingness architects, especially, disapproved of the Sharp optimism in Toronto. Planning for to engage with students, staff and neighbours Centre—it has become one of those buildings Viljo Revell’s New City hall had begun as was almost as unusual as the building he that define Toronto. Given that it’s an art it had for Ludwig Mies van der Rohe’s produced. “Through those conversations,” he school, a place to experiment and take risks, Construction of Sharp Centre Alsop’s over-the-top architecture sets just the Sharp Centre for for Design Design Photo by Photo by right tone. It’s okay to be different and look David Richardson Richard Johnson beyond the conventional. DONOR PROFILE: From OCAD U’s point of view, the building ROSALIE AND ISADORE SHARP sums up the mix of beauty and practicality The Sharps’ relationship with OCAD University dates back to that lies at the heart of creative excellence. the late 1960s when Rosalie attended OCA as a Material Art & you don’t have to be an art student, or even a Design student. “I was 29 years old with four sons so it was a privilege,” says Rosalie while listing off the names of her Torontonian, to appreciate that. favourite professors and classes. Since graduating in 1969, --- Rosalie and her husband, Isadore, Founder and Chairman of Christopher Hume is the architecture critic and the Four Seasons Hotel, have been actively involved in annual urban issues columnist for the Toronto Star. Since fundraisers and were a big reason why the Sharp Centre of the 1980s, he has won a National Newspaper Design progressed from a brilliant plan into reality. In addition Award and been nominated five times, He has to the their generosity, Rosalie has served on both OCAD U’s been recognized by the Royal Architectural Council and Foundation and was appointed as the university’s Institution of Canada and the Ontario Association first Chancellor in 2004. “OCAD changed my life in many ways,” of Architects. His book, William James’ Toronto says Rosalie. “I believe that creativity can enrich Canada, and Views, won a Toronto Heritage Award in 2000. that art and culture dignify our lives.” Copyright Four Seasons Hotels and Resorts 8 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 9 A Timeline of OCAD University

1921 OCA opens its own building in Grange Park on a site donated by the Art Gallery of Toronto. The building is designed by George A. Reid and is the first of its kind in Canada to be constructed specifically for the purpose of art education.

Master of 2004 The Sharp Centre Executive Fine Arts in Master of Criticism and Interdisciplinary for Design officially opens. Design in Curatorial Master’s in Art, 1957 The main campus at Advertising Practice Media & Design

McCaul Street is closed for OCAD OCAD OCAD University University University 100 McCaul Street opens. OCA Graduate Graduate Graduate 1886 The school Studies Studies Studies is reunited under one roof with the event, which is attended relocates to a building the first extension to the by 2,000 people. Rosalie near Queen and original Grange building wing. Sharp (AOCA, Material Art & Yonge Streets. Design, 1969) is installed as OCAD’s first Chancellor. 2008 1912 The “Act 1970 For the Photo by Richard Johnson The first set of graduate programs Incorporating the first time, OCA is launched: Master of Fine Arts in Ontario College of Council includes Criticism and Curatorial Practice, Art” receives royal students and Interdisciplinary Master’s in Art Media & faculty as voting Design, along with an Executive Master of assent and the 2011 OCAD U unveils its new college is given members. Design in Advertising. The Honourable James K. Bartleman, former Lieutenant visual identity and introduces an annual grant two new graduate-level of $3,000, as well Governor of Ontario, is installed as OCAD’s second Chancellor. programs: Master of Design 1882 The school as free premises 1979 OCA 2000 OCAD announces a $24-million in Inclusive Design and a on the third floor Centre image by Guillermina Buzio, right image by moves to the Normal launches the investment from the Province of Ontario Teresa Ascencao Graduate Program in Digital School building of the Normal first fundraising through SuperBuild to make possible a Futures. Catherine (Kiki) (present site of School building on 1929 Painter and Group campaign in major capital expansion and renewal plan. Delaney is installed as Ryerson University). Gould Street (same of Seven member its history. OCAD U’s third Chancellor. location as from Interior image by Nate Storring ’11 1882 to 1886). J.E.H. MacDonald appointed Principal.

1876 1880 1890 1900 1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011

1876 The Ontario School of Art opens 1988 Trustees of the OCA at 14 King Street Foundation vote to expand West on October 30. their custodial role with 1963 A second major Twenty-five students endowment funds to include extension containing the are enrolled. fundraising activities. Nora E. Vaughan Wing is added to the south wing 2010 The of the building. 2007 Establishment Government of of the Digital Futures Ontario introduces Initiative, a set of legislation to officially 1933 Fred S. Haines 2002 OCAD acquires 2005 Sara Diamond cross-disciplinary change the name of becomes Principal, a official status to is appointed as the programs, research, the Ontario College of position he will hold confer the degrees of 21st President. and innovation Art & Design (OCAD) until 1952. Bachelor of Fine Art Photo by Tom Sandler activities in digital art, to OCAD University (BFA) and Bachelor of (OCAD U). A Master of 1920 Painter George A. Reid media and design. Design (BDes). Arts in Contemporary is appointed Principal. Group Design by Jim Diorio and Art, Design and of Seven member Arthur Lismer Shawn Murenbeeld New Media Art assumes the role of Vice-Principal. 1945 The college 1890 The school expands to the William Histories is added. moves to the famous Houston Public School 2009 The Aboriginal Visual Princess Theatre at on Nassau Street to Culture Program is launched to 173 King Street West. house the Design 1974 Initiated by Franklin (Archie) foster expertise in Aboriginal Rooms on the second School. The curricu- Arbuckle, the first group of students art, design, media and other floor are connected related knowledge. A Master of lum is broadened to participate in the off-campus study 2006 OCAD is granted membership with the Art Museum Design in Strategic Foresight & 1923 A summer include various forms program in Florence. into the Association of Universities of Toronto. Innovation is added. school is established of applied arts. and Colleges of Canada (AUCC). in Port Hope, Ontario. 1996 The name of the college officially changes to the Ontario Left: Image by Marc Smith College of Art & Design (OCAD) Master of Design Strategic Right: Design by Foresight & and the academic structure Innovation Bonnie Devine,

OCAD Duke Redbird, is defined by three faculties: University Graduate Foundation Studies (first year), Studies Afo Grigoriev Photo by Jeff Zoeller Art and Design. Archival photos courtesy of OCAD University’s Dorothy H. Hoover Library and Archives Dorothy photos courtesy of OCAD University’s Archival 10 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 11 From the Archives

Group of Seven member Arthur Lismer, who served as OCA’s Vice-Principal from 1920 to 1927, shares his thoughts on art education in the 1930 student issue of Tangent. Courtesy of OCAD University’s Dorothy H. Hoover Library and Archives Dorothy Courtesy of OCAD University’s 12 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 13 From the Archives

For more than 100 years, students have shown of their works in a variety 1960s of student publications and exhibitions. Here are a few pieces from the archives.

L to R: L to R: Christopher Rendell W.E. Noffke Nola Farman Doris McCarthy David Blake Betty McNaught 1920s Greg Gabourie

L to R: Cleeve Horne Zelda Hurmitz Betty Livingston 1930s Sylvia Hahn

1970s

L to R: Lyn Carter Wendy Cain Doug Back 1940s

L to R: Wendy Coburn Scot Laughton with Tom Deacon Caroline Langill b.h. Yael L to R: Sidney Goldsmith Dave Anderson Sidney Goldsmith 1980s L to R: Alexandra Hunter Gerry Richards Bill Hart 1990s Douglas Ball

1950s L to R: Margie Hunter Hoffman Stephanie Bak Candice King-Stewart Archival photos courtesy of OCAD University’s Dorothy H. Hoover Library and Archives Dorothy photos courtesy of OCAD University’s Archival Stephen Hossbach 14 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 15

Courtesy Canadian National Icons and Innovators: Railroad Company OCAD U’s Impact on Canadian Design By Earl Miller

“

Courtesy Loblaw Companies Limited

esign’s humble introduc- Douglas Ball, a graduate of the industrial Yet his legacy helped to modernize design tion at OCAD University design program, pioneered “systems fur- education at OCA. Current Ontario MPP

belies the institution’s niture”—the now ubiquitous office cubicle. Monte Kwinter, who graduated from the Reproduced with the D future as a Canadian Meanwhile, Kramer and Stuart Ash, an OCA college in 1954 and served as Vice-President permission of the Canadian leader in the field. When graduate who founded the international from 1971 to 1973, recalls that “Ascott Courtesy Herman Miller Inc Broadcasting Corporation the Ontario College of Art design firm Gottschalk+Ash International, opened up the vision of people in the design (OCA), as it was named for most of the 20th spearheaded Swiss modern design in field,” most notably by allowing students to Another former student, Bruce Mau, con- Scot Laughton’s 1987 Strala light, developed Martha and the Muffins, Ladly specializes in century, added design and other applied arts Canada, famous for its clean, hard-edged explore beyond conventional fine arts and sidered by many to be Toronto’s best-known when Laughton was still an industrial design interactive communication, social networking to the curriculum in 1945, such studies were graphics. And modernist design from design departments. Consider Photo-Electric graphic designer, is to postmodernism what student (he has also taught in that same and mobile experience design. primarily hobby- and craft-based. OCA would visualize Canada’s emerging Arts, a department Ascott created in 1972 Kramer, Ash et al. were to Swiss modernism. department). A Memphis-influenced design Ladly’s interactive media specialization But by the 1950s, OCA was home to a contemporary identity: graphics and the to offer instruction in computers, video, and Leaving the college in 1980 before gradua- capped by a quintessentially postmodern exemplifies a new era at OCAD University, formidable advertising design department, exhibition design for Expo 67 (Kramer and even robotics and holography. This depart- tion to work for agencies in Toronto and triangular shade, the lamp made Time one heralded by the 2005 appointment of with graduates and faculty alike creating Ball), furniture for Habitat 67 (alumnus ment represented a progression toward a London, Mau made a breakthrough toward magazine’s Top 10 designs that year. Dr. Sara Diamond as President. Diamond some of Canada’s most iconic corporate Jerry Adamson), and Watt’s role in redesign- cross-disciplinary education that would suit self-employment in 1987 when Zone Books Multimedia followed postmodernism, and came with an extensive academic, administra- identities. Take, for instance, former faculty ing the Canadian flag in 1965. the eclectic nature of the postmodern design hired him to design the academic Zone 1/2 two computer savvy graduates of OCA’s tive and artistic background in media art and members Allan Fleming and Hans Kleefeld, While OCA was undoubtedly producing of the late 1970s and 1980s. series. His hip, colourfully abstract, yet never Photo-Electric Arts department, Kevin Steele computer science. Moreover, she fully imple- whose respective CN (1959) and Air Canada innovators, by the forward-looking late One of the key contributors to Canadian excessive covers of more than 100 volumes and Gord Gower, literally created the mented the academically-informed education (1964) logos remain vintage Canadiana. In the 1960s many students considered the school postmodern design from OCA is Louis Fishauf, redefined book design—academic or other- Canadian market for this design trend. that Ascott espoused by transforming a studio- 1970s came the op art-inspired CBC logo an anachronism—lamenting its enduring an Ascott-era graduate and current part-time wise—and accordingly expedited the launch After graduation they began applying their based art college to a degree-granting university. (1974) by former instructor Burton Kramer, a atelier education of drawing from life models professor. Fishauf is credited with taking of his own firm, Bruce Mau Design. Mau, Mac computer skills to advertising, forming In 2008, President Diamond launched a controversial redesign its detractors called or from reproductions of canonical sculp- over the art direction of the once stodgy who has continuously defied design conven- Mackerel Interactive in 1990, which they graduate studies program, with a Master’s “the exploding pizza,” followed by the much- tures. Add in the progressive times of the Saturday Night magazine in 1982 and tion by incorporating art, pedagogy and promoted with a black-and-white interactive in Design stream that attracts students with emulated Loblaw’s No Name branding day and institutional change was inevitable. infusing it with colourful splashes of new- social concerns into his practice, achieved a electronic brochure available on a floppy disk. impressive qualifications due to the expertise and packaging design (1978) by alumnus The catalyst was Roy Ascott. A progres- wave graphics and a jagged, asymmetrical fait accompli with his museum exhibition Multimedia’s old-tech beginnings sharply of Ladly and other faculty actively affiliated Don Watt. One reason why OCA became a sive educator and practising artist from layout. That same year he co-founded Massive Change. Beginning at the Vancouver contrast with Martha Ladly’s current with Canada’s design epicentre in down- hub for influential design was that instructors England who was hired as president in Reactor Art and Design, the first major Art Gallery and next travelling to the Art practice. An associate design professor and town Toronto. Barr Gilmore, for example, a like Fleming and Kramer, who simultaneously 1971, Ascott radicalized the curriculum to Canadian studio to work on a Macintosh Gallery of Ontario in 2005, Massive Change the Director of the Interdisciplinary Master’s 2011 graduate and a member of the Royal maintained significant studio practices, were stress a creative and conceptual education computer and draw with Adobe Illustrator. made a powerful argument that design could in Art, Media, & Design program, as well as Canadian Academy of Art (RCA), entered not only able to teach a technically demand- over a technical one. He even temporarily Integral to the studio is its international facilitate global social progress. a graduate who once played keyboards the Interdisciplinary Master’s in Art, Media & ing, well-rounded curriculum but were also instilled a now cliché countercultural representation of a wide range of high-profile Just as iconic as the Zone 1/2 series was in the seminal Toronto new-wave band, Design program after working for Bruce Mau able to help graduates land jobs at design aesthetic at the school by, among other illustrators, and over the years the school’s and running a freelance business with clients firms in Toronto. Many of these graduates things, designing its academic calendar as creative and technically rigorous illustration that included TIFF and the New York-based subsequently returned to the college in the a tarot card set. Not surprisingly, Ascott’s program has served Fishauf well as a source Gagosian Gallery. With such high-calibre following years as instructors. dramatic reinventions split the school of talent. In fact, Reactor represents DONOR PROFILE: TEKNION graduates poised to enter—or to re-enter—the Such an enduring and expanding network between enthusiastic student supporters Fiona Smyth and Maurice Vellekoop, both Teknion is a leading international designer, manufacturer and workforce, OCAD U will undoubtedly continue at OCA spawned many firsts. In the 1960s, and perplexed traditionalist faculty. 1986 graduates and current faculty members. marketer of design-based office furniture. They first supported to define and shape the Canadian mediascape OCAD University’s annual campaign in 1991, along with donating office furniture, and through the Ideas Need Space campaign well into the 21st century, and beyond. provided funding for the Teknion Environmental Design Centre. --- Reproduced with the permission of Air Canada “The studio is a hotbed of activity, and is where second- through Earl Miller is an independent art critic and to fourth-year Environmental Design students gather for preparing curator. He has written for Art in America, Azure, their studio work and where teacher/student ‘desk’ critiques C Magazine, Canadian Art, Flash Art and other happen,” says Cheryl Giraudy, Associate Dean of the Faculty of leading international publications. He has curated Design. Teknion’s CEO and President, David Feldberg, strongly exhibitions at venues including the Art Gallery of believes that such a centre is an integral component in “supporting York University in Toronto and the Tree Museum in students today who will be tomorrow’s design leaders.” Gravenhurst, Ontario. 16 SKETCH ONOCAD CAMPUS UNIVERSITY AT 135 YEARS SKETCH 17

Photo by Lino Ragno Going abroad: Striving for a sustainable future a chance to At home and abroad, OCAD U is see, and study, inding ways to reduce its footprint the world tors is an understanding that intercultural and behind the university’s global presence, faculty transnational collaboration deepens the learn- are also spearheading innovative collabora- By Deanne Fisher By Sheila Waite-Chuah ing experience for students and generates new tions around the world. This past summer, a discoveries in research and practice. group of 18 students studied The Future of “Nothing is more amazing than being com- Inhabited Form with Professor Stuart Reid pletely immersed in such a different culture,” and architect Will Alsop in London, England. says Tlell Davidson, a fourth-year design The course is just one example of OCAD U’s efore the environmental inherent implications of materials and their students who created a display with salvaged icture OCAD University student who studied at Jiangnan University in new model of the mobile studio. movement had reached impact on our world. Senior students are also materials to showcase food security issues in in your mind. you China last year. “China is such an incredible “For me, those kinds of connections are maturity and was examining broad-based issues in Painting West Africa. Another international endeavour probably see the iconic up-and-coming presence in the design world, really, really important,” says Peter Sramek, B capturing headlines in the Expanded Field and Landscape to involves a Memorandum of Agreement with P Sharp Centre for Design, so I wanted to see it through their eyes.” China Chair of OCAD U’s Photography program.

around the world, OCAD Environment course. Dr. Vandana Shiva’s “Freedom Fibres” project. Zoeller Photo by Jeff or a collection of densely is one of the newest study abroad opportunities Sramek recently turned his documentary University was not only Underpinning the studio-based education On campus, a number of grassroots packed buildings in OCAD U offers to its students through the photography course into a cross-cultural aware of the consequences of turning a blind in art and design, the Faculty of Liberal Arts initiatives have also taken root. The Green Toronto’s downtown core. But do you Mobility/Exchange program. Through partner- collaboration with counterparts in Finland. eye, it was actively involved in identifying & Sciences and School of Interdisciplinary Exchange has to date diverted 15,000 lb. of imagine students solving design problems in ships with more than 50 of the world’s most Through Skype sessions, a class blog and an opportunities for engagement. Studies provides a rich offering of electronic waste, while the national Bottled an architectural studio in London, England? renowned art and design programs, OCAD U online gallery of work, the students discussed In 1993, the university introduced sustainability-related courses in theory, Water Free has resulted in 800 individuals Or a collaborative online space where allows students to situate their practice and and critiqued each other’s work. To culminate Design for the Environment, one of the history and science. In Biological Principles and 26 departments pledging not to use photography students from Finland, Korea intellectual development within a cultural the experience, Sramek took three students to first courses on sustainability in an art and of Sustainability, fundamental principles of bottled water on campus. Environmental and Toronto critique each other’s work? context that is not their own while continuing Tampere, Finland, for a year-end exhibition design curriculum in Canada. Throughout biodiversity are being linked with issues such stewardship is increasingly embedded in the Just as OCAD U’s Toronto campus is to progress toward their degrees. of the work. This year, Sramek plans to add the 1990s, as the impact of global warming as agribusiness and genetically modified foods. built environment and studios are replacing stretching, so too is its international presence. The roots of the Mobility/Exchange an additional element—a group of students spawned campaigns for drastic economic and The Design and Sustainability offering also toxic solvents and adopting conservation The historical turning point in the university’s program rest within OCAD U’s membership from Seoul, Korea. They will join the project societal change, artists and designers were focuses on defining sustainability within today’s measures that target energy and water. international strategy was the development in AICAD—the Association of Independent and all three classes will gather in Berlin to faced with growing evidence of the “shadow contemporary global context, and in Nature, Additionally, Bullfrog Power provides the of the Florence Program. For 37 years, Colleges of Art and Design—a consortium meet face to face. side” of their practice and its impacts on Culture and the Environment consideration OCAD U Student Centre with 100% groups of students have enjoyed the unique of North American schools that agree to As OCAD U’s tentacles reach to all corners both environmental and human health. In is given to the notion of progress and the renewable energy, and the Zerofootprint opportunity to strengthen their technique and facilitate mobility of their students between of the world, back at home faculty and staff response, OCAD U faculty developed a consequences of technological development. partnership launched ZERO Lab to create deepen their understanding of art history in a institutions. Over the past decade, the are making global collaborations palpable and curriculum that raises difficult issues and Another key curricular development visualization tools. Future projects include communal studio setting, under the guidance development of new partnerships has opened accessible on our downtown Toronto campus. explores sustainable alternatives without across the university is the Sustainability building re-skinning and plans for a solar of OCAD U faculty, while surrounded by up options for study beyond North America Curator Charles Reeve considers internation- naively latching on to “the next big thing.” Minor, which has expanded to embrace an panel installation. And such initiatives architectural and artistic treasures from the in such locations as Australia, Israel and alization synonymous with his mandate to In the Faculty of Design, students in interdisciplinary framework, while the unique are paying dividends. Last October, the Italian Renaissance. Europe. And most recently, partnerships with bring professional contemporary art onto Biomimetics study the analysis of natural Aboriginal Visual Culture program provides university received a Better Buildings Although Florence is still OCAD U’s institutions in Brazil and India, spearheaded campus. Through his efforts, OCAD U has materials and processes to better understand essential perspectives on First Nations, Métis Partnership incentive of nearly $253,000 for flagship international program, a network of by President Sara Diamond, have opened up hosted artists from regions as diverse as self-sustaining and self-renewing solutions. and Inuit traditions and visions of linking its efforts to reduce electricity consumption partnerships now takes teaching, learning and opportunities for graduate students to enrich Thailand, France, New Zealand and Algeria. In addition, through the habitat housing land and culture. at the Student Centre. research into new regions. At the heart of this their experiences in those countries. With funding from Partners in Art, Reeve Studio they work in collaboration with the Such advancements in the curriculum are In looking forward, OCAD U is well- global network of artists, designers and educa- While students may be the driving force will launch a new project called “Twinning habitat for humanity agency, while strategies mirrored outside of the classroom. In 2008 positioned for future engagement. Faculty Cities & Twinning Artists,” which will see for designing vital communities is the main the Sustainable Task Force was created in are continually collaborating with colleagues collaborations with artists in India, China, premise of the Cities for People course. There part to develop strategies for environmentally and experts on climate change, smart cities, Brazil and Mexico. is also an Urban Landscape Ecology offering responsible practices. Also in 2008, the healthy communities and social enterprise. DONOR PROFILE: MARION SELIG “We’re being more deliberate about where students view cities as living labs, and Sustainability Office launched a mandate Through cultivating such interdisciplinary Marion Selig has been passionate about art and design since she featuring Toronto activity internationally,” in Sustainable Design and Development they to coordinate all sustainability initiatives on partnerships and incorporating them into was a young girl. “My mother, being a true Scandinavian woman, says Reeve. But at the same time, bringing had all the innate arts. She was an outstanding potter and began consider the global issues involved in the campus and to work closely with both the the curriculum, OCAD U can prepare the Potters Guild in Toronto,” says Selig. “She was also a weaver, internationally acclaimed artists and designers consumerist lifestyle. All second-year design Task Force and the Sustainability Working its students for real-world challenges and, had her looms and even sheep that needed to be sheared.” to the campus gives students, faculty, alumni students are also required to take Think Group of the New Ecology of Learning just as importantly, to be ambassadors for That passion led to Selig studying art history at the Sorbonne in and the public an opportunity to engage with Tank 1: Awareness, which includes a project (NEL). During its inaugural year, the what architect William McDonough calls France and later establishing the Joubin-Selig Bursary to support them. “For a student to get that kind of focused on social enterprise. Sustainability Office and Frog Pond, led “good growth.” students at OCAD U who wanted to take part in Mobility/Exchange engagement with someone at the pinnacle of programs in their field of study in Canada or abroad. Says Selig In the Faculty of Art, students are by Design Chairs Bruce hinds and Keith the art world is an invaluable experience.” --- about the importance of such opportunities for students: “They increasingly engaged in issues relevant to Rushton, collaborated with the Canadian Sheila Waite-Chuah is an Associate Professor learn and stretch their minds, and I think when you are without all --- their discipline. The process stream of courses Physicians for Aid and Relief to launch and Coordinator of the Sustainability office at your safety nets—family and the same friends and structures—you Deanne Fisher is OCAD University’s Associate includes health and safety issues and also the “Food Prints”: an interdisciplinary team of OCAD University. are more serious and you observe better and you are exposed to Vice-President, Students. new cultures and histories.” Photo by Greg Tjepkema 18 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 19

PRESENT

Our new visual identity A process in discovering who we are, and how we want the world to see us By Susan Mohammad

When OCAD University’s Graphic Design Chair, Keith Rushton, was a student at the school in the late 1960s, the entire school was the size of the program he now runs. And since he began teaching shortly after graduating in 1969, Rushton has watched the school develop into a leading, internationally recognized art and design institution. He’s also been witness to a few identity changes, beginning with OCA, then the Ontario College of Art & Design, and finally OCAD University. “It’s impossible to stand still,” says Rushton. “It’s important to protect and hold on to what makes an institution what it is, and also important to show that creativity doesn’t stand still. Ideas change and society changes, and a constant in the creative field is to be ahead of that movement.” Considering the transitions Rushton has seen over the years, he viewed the school’s unveiling of its new visual identity at the graduation exhibit in May as a logical step in OCAD U’s evolution. 20 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 21 during the pitch process Bruce Mau design demonstrated a desire to design the “process” as much as the identity itself.

Steve Virtue, who was the Director of Marketing & Although the research group couldn’t feels right typographically. There are no games being played.” In January, Bruce Mau Design invited Communications for OCAD U during the process, couldn’t estimate how much feedback to expect, however, he would never want the job of creating the new OCAD U’s approximately 20-person identity agree more. A new visual self was necessary, he says, to reflect an impressive 40 per cent of the total visual identity himself for a few reasons, including the wide steering committee (including university the school’s university status and expansion into other areas, responses were from students. Alumni from audience it must resonate with (from students and parents President Dr. Sara Diamond) to their office such as research in the experiential and patient-care design 12 different countries (on four continents) to donors and members of Canada’s art and design industry, for a presentation of the last three designs areas. “These are activities you may not think an art school also participated. Once the research was just to name a few). Furthermore, branding educational and a final vote. Before voting, President would have, but OCAD U is dramatically increasing its research complete, Stein and her co-designers sifted institutions is tough, adds Burbach, because they need to Diamond asked everyone around the table activities by building strong partnerships with companies like through the material, then boiled it down to incorporate a sense of both seriousness and play. what they saw in the designs. The decision Apple and Microsoft,” says Virtue. Another sign of the school’s key identity principles. The insights were then Toronto-based brand strategist Mary Jane Braide began was unanimous. Stein says it was a rare growth is the students. There are now about 3,700 students at posted in the firm’s space for inspiration. working with OCAD U two years ago as a consultant on the moment to see such consensus in the room. OCAD U, and that number is growing. “Then we sketch, sketch, sketch,” says Stein new naming process (she was also a member of the visual identity During the May 5 Graduate Exhibition, The school’s new logo is anything but conventional. The from the firm’s loft-like King Street West steering committee), and says the identity is successful because everyone involved was percolating with modular black-line frame of three windows inspired by studio. Feedback from the community its flexibility speaks to a wide audience and really describes the anticipation as the school finally revealed how the iconic Sharp Centre for Design and the ever-changing, and research process was synthesized to institution as one that is balanced and multi-faceted. the world would see OCAD University going student-created art spilling out is reflective of OCAD U establish the Identity Design Guidelines, “What makes a good identity also is a good development forward. James Gauvreau (BFA, Printmaking, as a place of creative and talented problem solvers. It’s which were as follows: process. The identities you see that really fail are the ones 2010), a former medal winner, had his work also representative of an institution that is in the midst of that haven’t paid attention to the audiences they are trying to chosen as the prototype in the basic window tremendous growth. Be fearless and future-facing. reach,” says Braide. “There was intense consultation and a real framework of the new logo. (Each year, medal But what exactly does the new visual identity say about Be an authority. sensitivity to what’s going on in the OCAD U environment, winners from the departments will be asked OCAD U, the people who work and learn there, as well Be gorgeous and smart. and that was reflected in so many ways in this new identity.” to leave their mark on the school’s visual as the direction in which the school is heading? And how Be vibrant. In today’s global marketplace, even the smallest misstep in identity—some designs will be used on school tough a job would it be to create an identity that defines a Be flexible. the rebranding process can be damaging for any business (a stationary, while others are better suited for place bursting with such a diverse range of critical, top-level lesson Gap Inc. learned the hard way). Last fall, the clothing the anticipated website, etc.). artists and designers? From the start, the process to find the “The first principle on having a history giant revoked their new, very American Apparel-looking logo The 28-year-old multidisciplinary artist was new identity was a challenge. Even before the new identity built on risk-taking is a key part of the (a white box with Gap written in black helvetica typeface) thrilled that his 20-foot sculptural installation selection committee (made up of a group that included school’s identity. So we ask ourselves: ‘how days after unveiling it due to extreme protest from designers (entitled Really Long Lake) was selected. he alumni, students, faculty and senior administrators) was do we reflect that?’ ” says Stein. “People start and the public who called it pedestrian, among worse things. says the new visual identity makes sense created, some insiders felt spending money on rebranding was by sketching crazy things and ideas develop. Braide has also witnessed how emotional the process can get. because it will always be adaptable to where wasteful. Others expressed strong emotional attachment to the We then ask which of these have the best In the summer of 2009, she advised the University of Waterloo the school is headed. “having a simple school’s former identity and feared change would mean losing promise, and let’s drive at those.” during the time their new logo was leaked—unleashing an black-line object that can be filled with other the gravitas of the school’s reputation. “I have to say Bruce Mau did a fantastic uncontrollable brushfire of response. “Unfortunately, it leaked as designs is good,” says Gauvreau. “I think it’s Bruce Mau Design won the contract, says Virtue, because job,” says Frederick Burbach, a professor in the university was about to enter an extensive consultation phase, quite smart. A blank canvas.” they expressed emotional and cultural intelligence about the Faculty of Liberals Arts & Sciences and so the process got completely sidetracked,” says Braide, who was Outside of OCAD U, the wider OCAD U’s diversity. During the pitch process the firm School of Interdisciplinary Studies and a involved in the brand strategy for U of W. “Ironically, someone in community echoed this enthusiasm. Fast demonstrated a desire to design the “process” as much as the brand and typography expert who was part the design group loved it so much they put it on their blog, and Company’s Co.Design site, for one, described identity itself. What followed was months of consultation, of the selection committee. “It’s important somebody decided they didn’t like it and it started this crazy wave the identity as a “mini art gallery for student research and debate conducted by five members of the firm, to understand that OCAD U is not just of negative stuff,” she says. “Within two or three weeks there were work” that demonstrates the school’s along with input from a leading branding consultant, a Toronto, Ontarian or Canadian brand. 9,000 members on this Facebook page.” dedication to its students. Mary Jane Braide. On campus, students were given markers and It’s a world one.” Great design is extremely But what does this new identity offer people poster paper and asked to share their ideas on what the identity important for any business, and Burbach like Rushton, whose relationship with the of the school was, while prospective students were even points to the near “sensual” experience of school dates back nearly 45 years as a former interviewed for their thoughts on portfolio day. Eight workshops opening a new Apple product as one example. ALUMNI PROFILE: PHIL RICHARDS student and now teacher? “It’s like the small with various community stakeholders were also held, online “It’s like foreplay. I mean, get on to an Apple Phil Richards (AOCA, Drawing & Painting, 1973) has been a school has become a mid-size school. The questionnaires were sent to alumni, and a Facebook page computer and work. Then go work on a visual artist for nearly four decades and has created everything school is growing so much and the design can engaged students on themes of identity and the school’s future. PC,” he says. “Why is Apple the number one from intimate portraits to large-scale murals for such places as morph and change as we go along. The frame “One exercise was asking people to draw a university crest. corporation in the world based on market the Eaton Centre in Toronto. He has also been commissioned of the three squares never changes but the rest to produce the portraits of premiers and university chancellors Another was getting people to define their quintessential capitalization? It’s because the atomic level of and is currently working on a new portrait of Her Majesty the does, which is about the legacy of creativity OCAD U moment, or talk about what attracted them in the that brand is sensuality. Well, the atomic level Queen that will be unveiled during the Diamond Jubilee in 2012. and freedom, and that’s a good thing.” first place,” says Laura Stein, Associate Creative Director at of OCAD U is vibrant curiosity. That’s what “Of course, as one can imagine, gaining access to the Queen as --- a portrait subject is a complex undertaking. However, an artist Bruce Mau Design. “There were a lot of different opinions, drives our brand.” Susan Mohammad is a Toronto-based writer, editor must get to know his or her sitter to some degree, which meant and interesting metaphors like designs with cogs and Burbach also points out that the Gotham and broadcast journalist whose work has appeared there was a great deal to accomplish during our meetings,” Interior images (top to bottom): in Maclean’s, Canadian Business, Homemakers, wheels representing the school as a place that affects change font is a good fit for the logo because it’s notes Richards. “It was quite amazing to meet and talk to the Anna Soper ’11, Nate Storring ’11, the Ottawa Citizen and the CBC Online. throughout the world.” stripped down, basic and serious. “It just Georgia Dickie ’11, Sean Lewis ’11 person with the most recognizable face on the planet, and then come up with a new take on her image.” Photo by Michael Richards 22 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 23

Teaching Art and the he Idea of an Art & Archipelago of Imagination Design University By Vladimir Spicanovic By Kathryn Shailer

rtists first learn how to teach by exploring and evaluating cultural signs, and reaches out to diverse hen the Provincial Legislature granted university status to graduates are at an unprecedented high the ways in which they have been encouraged or inspired, audiences “exploring all dimensions of the the Ontario College of Art & Design in 2010, it completed and the best require a university degree: by transforming or transcending past experience and by present, tracing lines in all directions of time a process started a decade ago when legislation empowering depth of expertise in one art or design A reflecting upon their own studio education. As artist- and space.” Bourriaud sees contemporary art W OCAD to grant university degrees was first approved. discipline combined with a breadth of teachers arrive at their own ensemble of methods and values, practice as analogous to an archipelago—not But why has it been so important for OCAD to become knowledge and the capacity to apply and exceptional teachers—both “good” and “bad”—continue to simply a constellation of islands but a whole a university? how does this move benefit students? What extend expertise to new scenarios. Where resonate. Imagine, then, the number of pedagogical longitudes, latitudes and network of thematic studio-based activities and are the benefits to society? To answer these questions, we need to go back are these career opportunities? Think in teaching coordinates that have emerged over the 135 years of teaching at OCAD modes of meaning-making. 50 years to unravel the relationship among universities, colleges, and art/design terms of the burgeoning creative industry, University. Complex matrices of philosophies, methods of critique, discourses But it seems that we can teach only around schools in Canada. We also need some perspective on the history of universities which ranges from a thriving global art and forms of studio inquiry have animated the past, present and future of art, around making silent moments tactile, in Western culture. market to mass propagation of entertainment teaching at one of Canada’s leading art and design institutions. palpable, available, by interpreting visual From the early years of European settlement to the 1960s, a stretch of and communication devices in search of The complexity of studio teaching might feel daunting, yet how we teach metaphors that sometimes blur the boundaries 300 years, Canada established some 30 to 35 universities and a few specialized meaningful content. Consider how artists art evolves organically, for our inquiries and methods must be nimble and between aesthetics and ethics, making and post-secondary schools, including art schools, agricultural colleges, technical and designers are adapting social science responsive, entertaining and critically informed. From course to course, week thinking, observation and imagination. In colleges/polytechnics, etc. Most of the small percentage of high-school grads research methods to address mechanical and to week, making through trial and error, studio teaching has persevered as art the catalogue that accompanied the 2011 who pursued further education went to university. Then, in preparation for systemic issues in health care, rehab services in itself. This essay offers some ideas about the meaning of teaching art today, Sculpture/Installation thesis students educating the baby boomers—and accommodating their huge consumer and community development. Consider in the context of this publication, a collage of multiple voices and insights that exhibition, Something More Concrete, held in appetites—the 1960s saw a massive expansion and restructuring of post- how business and industry are adapting art captures the creative resilience and vitality of this hybrid university. the historic Brink’s building, George Boileau, secondary institutions. This included the founding of a new category of and design processes to breathe new life Undoubtedly, the last 10 years represent a period of great transformation at Ian Carr-harris and Paulette Phillips suggest schools—community colleges—to provide applied diploma programs to into stagnant operations and to develop OCAD U—from the inception of degree granting and the establishment of new that there is: train skilled labourers and office workers. At the same time, the university new ventures. All of these endeavours research and graduate programs, to the official name change and the launch of system doubled in size. require a level of criticality that keeps social the new visual identity. We can also think of the last 10 years as a period of sus- A thin line between observation and What distinguished a university from a community college/institute was and environmental, as well as economic tained interrogation of the education of artists as exemplified in numerous book imagination. Or perhaps there isn’t a line its core purpose. A university, to quote from John henry Newman’s The Idea considerations at the forefront. publications, conferences, panel discussions and curatorial projects. For example, at all. The Oxford Dictionary offers us of a University (1873), “is a place of teaching universal knowledge.” Universal The speed of technological change is last summer, heather Nicol’s Art School Dismissed (2010) illuminated intricate this idea…that imagination is “the faculty knowledge or liberal education incorporates the seminal ideas and writings staggering and almost defies just-in-time relationships between teaching and art making, playfulness and pedagogy by or action of forming new ideas, or images of philosophers, artists, poets, historians, scientists and other thinkers from training if one wants to pursue a long-term transforming a decommissioned building of the Shaw Street Public School into a or concepts of external objects not present ancient times to the present. The purpose of a liberal education, to paraphrase creative career. here is where being a site for interdisciplinary interventions by some influential artist educators, 18 of to the senses.” Doesn’t that sound like, Newman, is to discipline the mind to pursue learning and knowledge for its university is so important for OCAD U: with them representing OCAD U. And in Steven henry Madoff’s recent collection “observation, second phase”? own sake, not to shape it to serve a specific trade or profession. A community a liberal education underpinning a studio- of essays, Art School: (Propositions for the 21st Century) (2009), we learn about college seeks to achieve the latter; that is, it prepares students for a trade or a based art and design curriculum, OCAD U’s the issues and dilemmas facing the future of art education. From alternative Perhaps that “second phase” has to do with job as defined by industry right now. degree programs not only ensure under- models of studio pedagogy and reformulations of Bauhaus, to blueprints for the finding ways to connect imagination with So where do art and design schools fit into all this? Although most standing of traditional techniques, equipment transdisciplinary model of an art school in which art making intersects with reason, to humanize technology and to deepen universities and colleges also have fine art or visual art departments with and processes, but also develop a critical science and design, this book, as does any true art school, offers a multiplicity our sense of empathy. Aren’t those paths programs that reflect the nature of the home institution, independent art awareness of historical factors and social of perspectives from practitioners who teach. Madoff reminds us that: different for everyone who learns and teaches and design schools share characteristics of both. OCAD’s four-year diploma contexts. Students learn to utilize and explore art? In whatever choice of media, discourse, program (AOCA/D) was based on the traditional atelier system of learning; the possibilities of new technologies, while It’s a common place to reiterate the fact that an artwork is anything now— or inquiry, teaching art today sometimes feels it offered a smattering of liberal education but the onus was largely on the also considering and critiquing the implications. a parade, a meal, a painting, a discussion, a hole in the earth filled with the like mapping, like making visible and audible student to partake of it or not. Eventually, by the late 1990s, it became clear OCAD U has become a remarkable example thought embedded in the work’s title—and it is now more than obvious that an archipelago of imagination meant to be that a new curriculum with greater breadth and redefined standards was of a university dedicated to the conscious preparing young artists to live in a landscape of infinitely elastic production discovered, shared and sustained for at least required, and the move to gain university status began in earnest. integration of applied and academic learning will demand some new requirements… another 135 years. Similarly, other art and design schools in Canada and abroad have embraced of professional expertise grounded in universal university status in recent years: the Nova Scotia College of Art and Design knowledge. Cardinal Newman move over; the --- In all art education, there must be reciprocity between learning and teaching, Dr. Vladimir Spicanovic is the Dean of OCAD became NSCAD University in 2003 and Emily Carr Institute of Art & Design idea of an art and design university has come. and a correlation between graduation requirements and abilities to respond became Emily Carr University of Art + Design in 2008. These were predated University’s Faculty of Art. --- to contemporary actuality, globalization, technological innovations and by Philadelphia’s University of Arts, Berlin’s Universität der Künste, and Dr. Kathryn Shailer is the Dean of OCAD cultural diversity. In the “Altermodern” culture of “positive vision of chaos and London’s University of the Arts. University’s Faculty of Liberal Arts & Sciences and complexity” proposed by Nicolas Bourriaud (2009), an artist perceives the world Why this scramble for university status? The simple answer is social, School of Interdisciplinary Studies. with all the senses. She/he questions ideas, assembles and reassembles different economic and cultural change. Career opportunities for art and design 24 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 25 Digital Innovation in the Classroom By Lena Rubisova

David Rokeby in Very Nervous System in the streets of Potsdam (1993) igital technology plays The Photography Department has had Media. Since Integrated Media has been 3D scanning an important role in the a constantly expanding relationship with in the Rapid available as a minor, it has become a set of educational experience at digital technology for several years. Computer Prototyping Centre skills that students from the Faculty of Art, and D OCAD University and programs have been taught, to some extent, in particular the Faculty of Design, are using to has come a long way since since the late 1980s despite their limited add to their arsenal. the mid-1980s when the availability at the time. Initially, digital To go along with developments in the first Macintosh computers began to appear in processes were used primarily for photography above-mentioned departments, OCAD U classrooms. Back then, it wasn’t unusual for an book layouts and fairly low-quality printing. features many labs that allow students to entire class to share one computer. A major contributor to the growth of explore digital technologies through critical During the 1990s, and throughout the digital printing in photography at OCAD U and innovative practices. Examples include the past decade, the university has seen enormous has been the department’s partnership Physical Computing hybrid Lab that has been changes in the realm of digital technologies, with Epson that was developed in the at OCAD U since January 2009, which allows which in turn have created numerous 1990s through the digital work of Professor students and professors to work on projects possibilities for collaborations between Barbara Astman. Under SuperBuild, an 3D scanning in the Rapid Prototyping Centre relating to computer sensors detecting motion, scientists, designers, artists and programmers in investment from the Government of Ontario Zanetti Photo by Lorella sounds, beams or infrared lights. The lab has a wide range of departments and studios. to help expand and renew the university’s plugs, connectors, cameras and displays, as well Since 2007, the Digital Futures Initiative facilities in 2000, Epson donated printers projects such as David Rokeby’s Very Nervous as a soldering station and installation spaces. (DFI) has been developing a series of and scanners to help set up the Epson System that uses sensors to convert movements Another example of ways in which the interdisciplinary programs to create new Imagining Lab, now part of the Photography of the body into sound and musical pieces. university is using digital technology is the opportunities for students who are working Department. Epson has continued to support (Rokeby graduated from OCAD U in 1984 Drawing and Painting Digital Suite. The suite with digital technology in both art and design the Photography Department through with a degree in Experimental Art.) The is a collection of interactive SMART Board programs at the graduate and undergraduate further donations, while older models of scope and nature of the department began to whiteboard systems with Wacom Cintiq level. Initially made possible by a $2-million printers and scanners have been passed on to change in the early to mid-1990s when digital displays for digital painting. The scale and annual investment grant from the Government other departments and areas at OCAD U. computer labs came to OCAD U, and as sensitivity of the equipment allows students of Ontario, the DFI has grown to receive An important part of digital development courses that had to do with the Internet and to transition intuitively from analog to digital additional grants and awards to support has been retaining more traditional analog with digital design began to be offered. Moving painting in a way that would not be feasible research. The DFI supports developments in processes and integrating them into singular into the start of the 21st century it became on a laptop. other departments by creating joint courses practices. “Philosophically, [the Photography clear that many students were more familiar There have been many changes to the that give students a better understanding of Department] sees the medium in hybrid with digital technology than with traditional university over the last 20 years as digital how digital technologies can enhance their terms, presenting students with a mix of print processes, and labs such as the Rapid DONOR PROFILE: GEORGE AND technologies have increasingly played a more work. This includes providing funding to production media and processes for their Prototyping Centre and Physical Computing MARTHA BUTTERFIELD important role. This has spread to both the such areas as the Photography Department exploration and art making,” says Chair of hybrid Lab were established for use at George and Martha Butterfield have given more than just financial Faculty of Design and Faculty of Art and for the purchasing of new cameras, and to the Photography Peter Sramek. As digital print graduate and undergraduate levels. Photo by Claudia Hung support to OCAD University, they’ve given their time and energy. has changed the way that emerging artists Martha, who earned a fine arts degree from the University of Drawing and Painting Department for the quality and camera resolutions improve, One of the ongoing trends in the Toronto, was an active member on the Board of Governors in and designers think. Initiatives such as the development of a digital painting lab. students have been able to experiment with development of digital technologies in the the 1990s. “When I was at U of T, I was envious of what was DFI and technological partnerships with Two years ago, the DFI began offering going back and forth on printing digitally Integrated Media Department has been happening here and I was so happy to see the school at close external partners are taking the university minors in Digital Media and On-Screen from analog negatives and vice versa. the integration between digital and analog range,” says Martha. Not to be outdone, George was Chair of towards a future that mixes digital and analog Media, as well as a Graduate Degree and Since the late 1970s, the Integrated Media practices, which allows opportunities for the Ideas Need Space Campaign where he found himself putting technologies in a provocative and exciting way. in endless hours trying to attract would-be investors. “I like hard Master’s Degrees in Arts, Fine Arts and Design. Department, originally called Photo/Electric collaboration and research between different work and we spent countless hours trying to get investors on --- Since its implementation four years ago, Arts, has been investigating technologies such departments and areas. “We see more board,” says George. Not only did the largest campaign ever Lena Rubisova is a fourth-year Graphic Design the DFI has grown to include new faculty as film, audio, video and robotics. It was the integration of digital tools across every aspect executed by the university conclude successfully, the Sharp student at OCAD University. She graduated from the members that are bringing new areas of latter area that pushed interest into interactivity of university practice,” says Judith Doyle, Centre for Design was built and George was awarded an Honorary University of Toronto in 2007 with a degree in Art expertise to a variety of projects at OCAD U. and connectivity within the department, with Associate Professor and Chair of Integrated Doctorate degree in 2007, acknowledging his monumental effort History and Classical Civilizations. and a truly inspiring success. Photo by Christopher Wahl 26 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 27

Jeff Winch Karin von Ompteda

Rachel MacFarlane Elizabeth Pead

Sean Lewis Lauren Dynes James Gauvreau

Christopher Kuzma Victoria Kouvchinova Meryl McMaster WHAT OUR STUDENTS ARE MAKING TODAY: Works by our recent Medal Winners

Rico Law Photos courtesy of OCAD University’s Dorothy H. Hoover Library and Archives Dorothy Photos courtesy of OCAD University’s

Stephen Shaddick Amanda Nedham Heidi Mok Farah Yusuf Tom Briggs 28 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 29 he “University of the Imagination” meets Digital Inclusive Design By Jutta Treviranus

CollectionSpace An open-source collections management system for museums

n August 1, 2010, the software development toolkits so that software Fluid Infusion Fluid Engage A Web applications Inclusive museum Inclusive Design Research applications built using the toolkit integrate framework and library of visitor experiences Centre (IDRC) joined accessibility from the start. This means that Web components with across mobile, Web and innovation. Neither is comfortable with the inclusivity, usability and in-house spaces. O OCAD University. IDRC adaptability becomes embedded into the nimbleness in mind. average, typical or conventional. is a reformulation of the foundations of the software, and users who Both IDRC and OCAD U are also Adaptive Technology depend on that adaptability, such as users concerned with the positive potential of the Research Centre (ATRC) that was established who are blind, have low vision, or difficulty digital transformation of our tools and our at the University of Toronto in 1993 as controlling a keyboard or mouse because of a 1. A primary focus and emphasis on 5. A common desire to promote the environment. IDRC has pioneered a reframing an international centre of expertise in the physical disability, can operate the software. the person: the highly individualized quality of life and the richness of the of universal design in the digital realm. This inclusive design of emerging information, Projects such as ATutor (atutor.ca) nature of the aesthetic relationship human experience: the condition for reframing is based on the premise that the communication systems and practices. One help curriculum content producers create between a person and an artwork success in the aesthetic experience mutability of the digital frees us from the of the ATRC’s main research focuses was the accessible learning resources. The FLOE symbiotically expands the intellectual scope also reflects the personalized nature is the same as that for the inclusive need to create a single configuration, design Web, and the ATRC grew up with the Web. project (floeproject.org) is building a global of both entities. OCAD U and IDRC share of inclusive design. experience; artists, like inclusive or solution to meet everyone’s needs. Making On that August day, more than 25 permanent framework to deliver learning resources a common grounding in design thinking, designers, are motivated by a use of the adaptability of digital systems, research staff and 15 multi-sector, international that meet individual learner needs, applied practice and critical analysis. While 2. An informed and searching interest deeper sense of what being human and the great potential to pool and share and national research projects made the making education accessible to previously OCAD U is known for expertise in the in the senses, sensory modalities and is all about. resources presented by online networks, we can transition to a new home at OCAD U. marginalized learners. IDRC gives priority visual modality, IDRC brings an emphasis on human perception. dynamically reconfigure or replace the interface The largest of these projects is an to initiatives that will result in systemic multi-modality and on translation from one I would add to this the common driver of and resource in response to the goal, the infrastructure project to build a multi- or cultural change. This includes helping modality to another. 3. An understanding of interactive innovation and creativity. Innovation occurs context, but most importantly the individual institution regional research hub focusing on to create policies, standards, international While IDRC was founded to address and technologies as extensions of at the margins of any domain. A diversity requirements of each user. Thus every digital inclusion called the Inclusive Design specifications, international guidelines and has focused almost exclusively on the digital, the human body. of perspectives results in greater creativity. individual can create a personal specification of Institute (with a budget of $15 million legislation that support inclusion. IDRC OCAD U helps round out the digital with Both OCAD U and IDRC understand what he or she needs or prefers and whatever supported by the Canada Foundation for also establishes and fosters open-source the creative merger of the digital and the 4. An interest in developing the potential of disruptive notions, the networked system they encounter (e.g., Innovation and the Ontario Ministry of communities to recruit help from around physical, thereby helping IDRC transition techniques to observe, process, and counterintuitive, the unexpected and the Web service, kiosk, multi-user workstation) Research and Innovation). Post-secondary the world in this sometimes overwhelming to the inclusive design of the emerging interpret and extend human input. unconventional—powerful catalysts for can match that personal specification. With partner institutions include york University, but critical effort. IDRC distributes all of the “Internet of things.” IDRC’s concentration partners around the world, IDRC is leading Ryerson University, the University of Toronto, work produced under an open-source, open- on functional accessibility is completed the construction of a global infrastructure to UOIT, Sheridan College, Seneca College and access licence to enable the greatest possible by OCAD U’s concentration on aesthetic support this vision (gpii.org). George Brown College. uptake and implementation. accessibility. IDRC provides ready-made IDRC brings with it a compelling challenge IDRC’s mission is to ensure that Reactions to this major transition for instantiations of many of the goals of OCAD ALUMNI PROFILE: EUNSOL YEOM to implement the imagination of OCAD U. mainstream information and communication IDRC (and for OCAD U) have been very U—international collaboration, research When Eunsol Yeom (BDes, Industrial Design, 2008) was six years To make it possible for everyone to participate systems are designed from the start to be diverse, but the predominant response from leadership, interdisciplinary studies, as well as old and living in her native Korea, she began making Christmas in our digitally mediated society requires cards for friends and family with an unabated passion. Her work inclusive of the full range of human diversity. those who are familiar with both entities is: established competence in software research caught the eye of her mother who encouraged her to pursue new ideas, focused risk-taking, creativity This is made possible by the unprecedented “What a brilliant move, good for OCAD and development. It can be said that the a career in art and design. When she reached high school, her and innovation—things that OCAD U flexibility and adaptability of digital systems U!” Less than a year from that important combination helps both entities resist the entire family moved to Canada and she eventually made her excels at. And it couldn’t be more timely, or and resources. To achieve the largest impact, transition, I can say with certainty that IDRC stereotypes they are frequently assigned. way to OCAD U where she “learned how to build concepts, run more urgent, as jurisdictions around the IDRC research and development focuses at OCAD U is an inspired match—for more The fit with design is obvious, but the research and conduct experiments before designing products,” world come to recognize the social and says Yeom. To say the least, her passion and devotion to her on the beginning of the development “food than the obvious or initial reasons. The fit with art is just as important. In a paper I studies paid off. Last March, Yeom won the prestigious Red economic impact of exclusion. The chain” and intervenes at the formative stages generative fermentation has begun and there wrote with Derrick de Kerckhove and David Dot Design Award for her highly innovative smartphone project, possibilities are limited only by the limits of emerging technologies. is a palpable potential to collectively create Rokeby in 1993 (the same year the ATRC was Voim, which she created with her collaborator, Youngseong Kim. of our combined imagination. Research initiatives, such as the Fluid and demonstrate hugely disruptive, timely established), we argued that art (interactive “During four years at OCAD U, I learned to think outside the --- Project (fluidproject.org), create inclusively and transformative ideas and practices. art in this case) and inclusive design had five box and to generate design processes from start to end,” says Yeom. “And eventually, I learned to expand my design thinking Professor Jutta Treviranus is the Director of OCAD designed building blocks for the most popular Establishing IDRC at OCAD U concerns in common (paraphrased here): process and viewpoints.” Photo by Sueng-min Kim University’s Inclusive Design Research Centre and Inclusive Design Institute. 30 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 31

Karin von Ompteda

OCAD UNIVERSITY’S 96th ANNUAL GRADUATE

EXHIBITION

Photographs by Christina Gapic

32 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 33 AN INSIDER’S WHAT IT’S LIKE TO BE A

PERSPECTIVE: STUDENT AT OCAD U By Christine Sismondo ALANNA MULE MARC DE PAPE CHRIS ALLEN FAREENA CHANDA HOMETOWN: HAMILTON HOMETOWN: WINNIPEG HOMETOWN: TORONTO HOMETOWN: KARACHI PROGRAM: DRAWING AND PROGRAM: MASTER’S IN PROGRAM: GRAPHIC DESIGN PROGRAM: INTERDISCIPLINARY PAINTING DIGITAL FUTURES MASTER’S IN ART, MEDIA & DESIGN

Alanna Mule, a third-year Drawing and Painting student, is Knowing all too well that things can change quickly, Chris Allen, a third-year Graphic Design student with a Photographer, designer and artist Fareena Chanda has been happy she listened to her mother. Marc De Pape came to OCAD U to keep up with the times. minor in Advertising, enrolled in OCAD U’s Graphic Design working toward mastering design on four continents—Africa, “Although I’m the only one in my family who pursued a Although it was only six short years ago that he graduated program after already graduating from Centennial College Asia, Europe and Africa. She’s lived in Seattle, Paris and creative line of work, my mom always noticed that I seemed from Concordia’s Digital Image and Sound in Fine Arts with a Graphic Design Media certificate. Karachi, but her current frontier is at OCAD U where she to be particularly into arts and crafts and painting when I program, he already feels that it’s time to re-immerse himself “I graduated at the height of the recession, when design is working on her Interdisciplinary Master’s in Art, Media was a kid,” she says. As such, mom always enrolled her in education—OCAD U’s pioneering Digital Futures jobs were really scarce,” explains Allen. Although enthu- & Design. She enrolled in the program to enhance her daughter in summer arts schools and encouraged her to Program—to maintain a cutting edge. siastic to get into the workforce, he applied to OCAD U’s background as a content designer, along with her educa- keep up with her passion. “When I graduated, YouTube didn’t even exist,” he says. Graphic Design program to keep his options open and to tion in photography and design that she first studied at the “Even in high school in Hamilton, I was focused on the “There were no smartphones even. There are so many more improve his skill set. It didn’t take him long to decide that University of Washington in Seattle. arts,” recalls Mule, adding that coming to OCAD U was an platforms for digital interaction.” For De Pape, it’s not about everything had happened for the best. “I’ve always been interested in design practices and this obvious choice. “The difference between a university with the job market, since he’s already an accomplished videog- “At first, I was a bit overwhelmed, but was quickly floored program has given me a tremendous amount of freedom an arts program and OCAD U is that you’re put in an envi- rapher and has given up a full-time job at the ROM produc- by how supportive an environment it was,” he says. “There to combine practices from different fields and explore the ronment with people who are just as driven as you are, and ing video content to accompany exhibits. “If I wanted to, I are so many resources here to help students.” Allen is certain space between art and design,” says Chanda. “A program that’s really inspirational.” could continue being a video producer making videos, but I his time at OCAD U, spent not only in classes but also taking like this allows you to try new things.” Mule says she’s always painting and, even though there want to draw inspiration from a wider variety of media and a advantage of programs like the peer-mentoring program that Although she points out that Seattle has arguably better isn’t a lot of downtime, describes the program as the perfect wider variety of ideas,” he says. “That’s important to me.” he participated in as both a protege and a mentor, will give weather, Chanda, who grew up in Paris and Karachi, was balance between individual work and learning from instruc- De Pape felt the time was right to go back to school and him a life-long advantage in the field of graphic design. attracted to Toronto because it has all of the benefits of a large, tors and classmates. “You’ll be working on your own and was investigating a program in Interaction Design at the Allen has been particularly inspired by his program, international city, along with some of the comforts found in a then a professor will come and help you with a technique Copenhagen Institute, even though he really didn’t want to which, he notes, is taught by professionals with impressive smaller town. “Toronto doesn’t feel as intense as some of the that can really help you improve.” leave Toronto. “When I was travelling with the ROM, I took and recognizable portfolios who take students through every other places I’ve lived; the people here are really nice.” Her muse is classic horror, which she paints in a photo- a little detour and visited the school. Then on my way stage of the branding process, just as it would take place in Chanda feels fortunate to be presented with so many realistic manner. Not long after she started at OCAD U, she home I was on the flight and flipping through the catalogue the marketplace. “I do really well in an environment where novel opportunities at OCAD U. “This school places a lot of made the switch from oil to acrylic, which works better on the next to me was Geoffrey Shea, a professor at OCAD U. I respect the people teaching me,” he says. “For example, emphasis on collaborative work, which is really great. Last large wood sheets she now paints on. “I find larger-scale art- He told me they were developing a program devoted to one of my instructors designed the logo for the Toronto semester, I was taking a course sponsored by Microsoft and works grab more attention and also let me work more freely that,” he recalls. “It was very lucky that I learned about it— Football Club (TFC).” was very lucky to work with colleague Nermin Moufti on a with paint,” says Mule. just in time. I found out about the program just three days While Allen appreciates the practical hands-on training he groundbreaking project for the associated Microsoft Design For Mule, the transition to Toronto and OCAD U was easy. before the deadline.” received in the first stage of his education, one of the things Expo Competition.” This pioneering course was a first for She got a job quickly and made friends with people in her The other thing De Pape is looking forward to in his new that he values most about the approach of the Graphic OCAD U and the first time a Canadian school was chosen classes, and with the help of people at OCAD U found an program is a little company. As a video producer, he found that Design department is that it’s not centred solely on results, to participate in the annual competition. What’s more, apartment literally two blocks from campus. Her smooth he was working a lot on his own and sorely missing the collab- but also on teaching students to focus on the entire creative Chanda and Moufti won the competition. Says Chanda: transition is something she attributes, in part, to a desire orative projects he worked on in bygone days when he was a process. That’s important to Allen since it helps teach “The opportunities the school offers are great. You have to to see the world, and her undergraduate work and time student at Concordia and, for many years, played in the band people how to think about the bigger picture. make the best of them!” in Toronto is the first step in her plans to travel and work Reverie Sound Revue. Says De Pape: “It’ll be nice to have true “So, not only are you learning how to make things, but --- abroad extensively. collaborations. It’ll be a little like being in a band again.” you’re also learning how to think,” he says. “Teaching you Christine Sismondo is a Toronto-based writer, researcher and “I love it here,” she says. “There are so many great people how to use tools is not a substitute for a good idea.” university instructor. and there’s so much going on. It really keeps you on your toes.” Photos by Victoria Sigurdson Sigurdson Photos by Victoria 34 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 35 VISION EDUCATION APPLICATION: Visible Campus Project OCAD U’S TRIPLE THREAT

FOR ONTARIO Haptic Holography With You. A social Project. Pairs OCAD U interactive experience By Larissa Kostoff with Entact Robotics product designed by Barcoo smartphone to develop technology OCAD U alumna Haniyeh app. Provides consum- that allows users to Khosravi Fard that has ers with nutritional facts interface with 3D the potential to be a and information on how displays that provide passive diagnostic tool companies engage in sensory feedback. for children with Autism social responsibility. Spectrum Disorder.

o look forward with Such traction is of increasing concern to for the real world—a demonstrated success initiatives and partnerships, as well as the Lab. Based on a deep understanding of Despite the potential for all of these projects imagination is one of students at OCAD U. In 2011, the university of OCAD U’s. In 2010, Research Infosource more than two dozen research laboratories the values, needs and cultures of end users, and initiatives, one thing is certain: they’ll OCAD University’s launched a pair of master’s programs for those included OCAD U among Canada’s top 50 and incubation facilities that support them. ambient experience design integrates ambient only be relevant if we safeguard the world T strengths. Artists and interested in working in sectors that engage research universities, and just as impressive Take as an example the Centre for technologies (image, light, connectivity, scent they benefit. That’s where the university’s designers at the university digital media, information and was the percentage growth (2,317%) that the Information Visualization and Data Driven and sound) into architectural environments. ZERO Lab comes in. It uses a visualization are working with advanced communications technology (ICT) systems, university experienced in research income from Design (CIV-DDD), led by york University Led by Professor Job Rutgers, OCAD U’s and mobile computing environment to technologies in increasingly collaborative including government, arts and culture, 2008 to 2009. in partnership with OCAD U, the University Ambient Experience Lab conducts research develop new applications, tools, visualizations environments, and the knowledge and health, and the mobile and interactive Our government is also investing in of Toronto and a multiplicity of industrial with partners such as Princess Margaret and methodologies to reduce our carbon innovation they provide represent major industries. The first, the MDes in Inclusive research commercialization at OCAD U. research partners. Imagine, like these hospital, Rotman School of Management footprint. The ZERO lab will eventually house growth areas for Ontario’s economy. Design, examines the ability of design to Early this year, the university was granted researchers do, looking at millions of genomic and Singapore Polytechnic. It also engages collaborations with Zerofootprint Inc. An As a university first, OCAD U realizes its recognize the full range of human diversity $359,800 in funding from the Federal patterns and seeing the diagnostic implications. OCAD U students like Evi K. hui. Together early example is the FedDev-funded Neutral vision by cultivating it through education. It with respect to ability, language, culture, Economic Development Agency for Southern Such data visualization, and the need for it, is with DuROCK, a Canadian manufacturer of Carbon Product, which pairs Zerofootprint recognizes that today’s world requires teaching gender, age and other forms of human Ontario (FedDev Ontario) through the growing exponentially in such sectors as health, exterior cement and coatings, hui is working with OCAD U to develop a visualization and learning based on problem-solving models difference. The second, the Graduate Program Applied Research and Commercialization the social sciences and finance. on the FedDev-funded Visible Campus project. aesthetic that communicates different aspects in which people from a variety of perspectives in Digital Futures, features unique Initiative. This investment supports Another forward-thinking venture on To express the “vibrancy and innovation” of a product’s carbon footprint. work together by bringing the strengths of partnerships with the Canadian Film Centre commercialization of the projects of 12 campus asks designers to consider how we defining present-day OCAD U, Visible Not only will ZERO Lab direct research different methodologies to the table. One Media Lab and the University of Waterloo, OCAD U research teams and their private- access our world. Called the Inclusive Design Campus is creating street furniture, wayfinding into green technologies in coordination example, among many, is the Digital Futures and builds on OCAD U’s strengths in sector partners. Over the long term, it also Research Centre (IDRC), this self-funded and other graphical elements as a means of with industry and institutional partners, it Initiative (DFI), a set of programs that draw practice and research in digital art, design and creates jobs and sustains economic growth centre conducts research in the inclusive design linking the university’s 12-building campus. will also work with other university research upon expertise from all faculties to look at media. “Both programs envision products and by helping small businesses get new ideas of emerging information, communication A further examination of experience is being facilities such as the Design Research Centre, practice, research and innovation in digital prototypes: they’re practice-based, so students into the marketplace faster. Projects are wide- systems and practices. Led by world-renowned studied at OCAD U’s Mobile Experience which supports collaboration between the media and its emergent developments. leave with something they can actually ranging and span the fields of mobile, health, inclusive design expert Jutta Treviranus, the Innovation Centre (MEIC), which provides Faculty of Design and external partners by Collaborative learning at the undergraduate develop,” notes Dr. helmut Reichenbächer, environmental and digital technologies. IDRC represents an international group of leadership in building innovation capacity researching and developing new products, level also engages outside partners. Consider Associate Vice-President, Research, and Dean, Support of this kind recognizes OCAD U’s academic researchers, students, government, and design excellence in Canada’s mobile and communications, systems and environments the OCAD U/Rotman Design Practicum, Graduate Studies. ability to see vision and education through community and private-sector partners whose wireless industries. Through applied research that are useful, desirable, inclusive, sustainable which joins OCAD U with the University of Reichenbächer’s remarks underscore OCAD to application—a strength evinced by the work responds to legislative commitments, and commercialization, SME advisory and and economically viable. Toronto’s Rotman School of Management. U’s continual desire to provide tangible benefits institution’s skyrocketing number of research market demands and universal values of services, conferences and workshops, and Vision, education, application: they come As part of the practicum, 24 MBA students inclusion and diversity. The IDRC also leads international outreach, the MEIC is recognized together at OCAD U. Whether it’s the human and 12 OCAD U Industrial Design students the Inclusive Design Institute, supported by as a leading organization across Canada. factor they introduce into health research, or work on real-world problems with clients ALUMNI PROFILE: SAJ JAMAL the Canada Foundation for Innovation and Effective innovation also identifies capacity the cultural knowledge they apply to the digital such as RIM and Jenny Craig. The purpose is Not all high-school students know what they want to do and the Ontario Ministry of Research and and need. OCAD U’s Strategic Innovation advance, OCAD U’s artists and designers are to enable students to learn about the process, where they want to study. But Saj Jamal (AOCA, Environmental Innovation, that is comprised of eight post- Lab (sLab) develops and applies strategic engaging innovative, interdisciplinary Design, 1990) had a very clear idea at an early age. “If I methods and mindsets of business design. was to follow my heart and pursue the arts, there was only secondary institutions as its core partners: foresight, design research, visualization and approaches to the opportunities we face as a “Our methodology is based on applying three one institution on the radar for me. If it wasn’t OCA, I would OCAD U, the universities of Toronto, prototyping methodologies to clarify and society, now and in the future. gears to design,” says Designworks Director have taken a path down a science or math degree at a local Ryerson, york and the Ontario Institute of feed the front end of the innovation process. --- university,” says Jamal, who since graduating has worked as the heather Fraser. “The first is about empathy Technology, along with the colleges of Among the lab’s many outcomes are early- Larissa Kostoff is currently on leave from her director of an international genetics organization and is currently and deep user understanding; the second, Sheridan, George Brown and Seneca. stage recognition and support for innovative position as Managing Editor, Marketing & the Managing Director, Marketing and Creative Services at Communications. Her work has been published in concept visualization; and the third, business eSolutionsGroup in Kitchener-Waterloo. “I have to admit I was In addition to considering issues of access, products, services, platforms and business numerous literary journals and trade publications, design. What’s important to remember is that really nervous presenting my portfolio and the idea of not getting researchers at OCAD U are also changing the models with industry partners such as the and she is a senior editor at Descant magazine. without this third gear, you don’t get traction into OCA went against my very being. Glad it all worked out…26 way we experience the world, through work of Association of Canadian Publishers, Achilles into business.” years later.” Photo by Ryan Whillier the sort carried out at the Ambient Experience Media and Corus Entertainment. 36 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 37

The Power of Design as a Research that Makes a Vehicle for Social Change Difference in the World By Gayle Nicoll By Helmut Reichenbächer

ast March, Deputy Ministers Deborah Newman (Training communities, Dr. Sara Diamond and the esign has an important and purposeful place in advocating, to the separation of industrial and residential Colleges and Universities) and George Ross (Research team develop new approaches to representing supporting and implementing positive societal changes areas, sanitation and water and public and Innovation) visited the campus to see our new difficult-to-read medical data. Visualizing, and preserving our highest cultural principles. In the late transportation service, played the dominant D L Inclusive Design Research Centre, the hub of the Inclusive for example, extensive numerical data through 1970s, when I was beginning my design education, much role in combating the spread of infectious Design Institute (IDI). The Deputy Ministers and Noëlle new systems of shapes, colours, or animation of the world around me seemed engaged in unprecedented disease. By 1940, largely as a result of better Richardson, Ontario’s Chief Diversity Officer, met with will help medical professionals, patients and social and economic changes associated with equality, the designed environments (since antibiotics Professor Jutta Treviranus and her team at IDI where researchers are focused on their families gain more immediate access to availability of energy and pollution. and most medical procedures we use today making digital media more accessible. complex information. Design education at that time, due principally to each discipline’s specific had yet to be developed), infectious diseases Treviranus’ team develops technology that adapts access to electronic media to isolation within the educational system, provided little insight into the accounted for only 11 per cent of deaths. meet the individual needs of the user, whether the user be short-sighted (enlarged Better training for surgeons importance of the design disciplines in advancing the public good, especially Canada was a leader in the social justice fonts), blind (screen readers), with limited motor skills (alternate human-computer Professor Francis Lebouthillier, Chair of in areas of social justice or sustainability. My architectural education, for movement in the 1970s with the inclusion of interfaces), or requires health information in culturally relevant formats. the Sculpture and Installation program, example, focused almost exclusively on building design rather than exploring barrier-free design requirements in building OCAD University embraces such real-world challenges and encourages its puts his talent and skills to use in medical a transdisciplinary understanding on the influence of the design disciplines design. The industrial design discipline, by faculty and students to develop innovative and creative solutions, particularly in environments. he develops high-fidelity on social issues. Over time, however, it became evident that social justice and embracing the universal design movement—a the health and wellness sector. Ever since OCAD U’s symposium on Cultural silicone models for surgeons preparing complex ecologic public issues endure as challenges for each generation to address for product of the social justice movement of Knowledge and the healthy Society in the fall of 2009, research in the health operations. highly detailed models of the fetus the benefit or to the detriment of the next generation. the 1950s—was especially influential in the and wellness sector at the university has become increasingly prominent. The in the womb allow the surgeon to plan and The design disciplines have played a pivotal role in advancing the public good development of functional and aesthetically symposium underlined what we do so well: bringing together designers, artists, practise challenging procedures in a no-risk, and creating the society we experience today and that we will pass on to future pleasing products available in the mainstream and creative and cultural industry workers to explore how these disciplines can realistic, three-dimensional context, thus better generations. A very brief historical inventory of designed communications, marketplace for household, workplace and engage productively to create measurable impact on improving the quality of life preparing the surgeon before they tackle their objects and environments since the start of last century illustrates only a few of the public domain. Noteworthy as well are for all Canadians. here are some highlights of a few ongoing projects: task in the hospital’s operating room. the many examples where the product of designers influenced social action. wearable objects of expressions that develop Consider the importance of iconic illustrations such as “Rosie the Riveter” awareness or identity for causes, positions or Creativity and mitigating memory loss Access to the marketplace (1942), designed during the Second World War to attract female homemakers groups. Most of us understand immediately Professor Judith Doyle’s collaboration with neuropsychologist Dr. Brian Richards OCAD U’s “Take your Idea to Market” to join the workforce when men were leaving the industrial workforce to the significance of wearable symbols such as at Baycrest engages patients with acquired brain injury and their family members competition last spring highlighted the great engage in combat. The image has transcended its immediate message for the a red ribbon, or the yellow silicone wristband to mitigate the effects of memory loss. Drawing on her expertise as Chair of the potential of our students. Two examples need for labour during an extraordinary time to play an important role in that indicate personal support for awareness Department of Integrated Media, Doyle employs a number of studio-arts-based from amongst the 11 finalists who presented breaking down the stereotypes of male-oriented jobs and empowering women and support of important social and approaches. One client who suffered traumatic brain injury in a cycling accident their innovations to a group of invited angel within our society. charitable causes. and subsequent coma in 2004 has recently resumed using software to compose/ investors: Adam Oliver presented a prototype I recently viewed a WWII poster titled “Together” (1943) that depicted OCAD University continues Canada’s create visual effects at the Memory Link Media Studio. When the client enlists of “Next Step,” a device based on a rollator a group of uniformed troops from all nationalities and ethnicities within leadership in accessibility through inclusive his embodied memory or “knowledge in the hands” of video compositing that facilitates the gradual sitting down the British Commonwealth of Nations marching together as a united force. design initiatives for providing accessibility software, he activates his procedural memory system. while storing kinetic energy to help patients The message was aimed at sustaining support for the war effort. The poster’s to digital communications and applications. stand up again. Jessica Nguyen presented her message of unity and ethnic diversity would have been broadminded for its Today, OCAD U’s Faculty of Design has Improving end-of-life experience prototype of a storage container for dental time, yet it prophesized Canada’s emergence in the post-war era as a union of assumed public leadership by providing Collaboration with Toronto’s teaching hospitals is also spearheaded by Professor drill heads that attaches directly to the hand- peoples from many cultures and ethnicities. exposure and investigation within aspects of Job Rutgers whose research in the health sector builds on his professional design held drill thus making drill heads more easily Effective public service advertisements such as the 1960’s “Buckle up for design that inform social and environmental experience in the industry. he currently supervises Oksana Kachur, a graduate accessible to the dentist. Safety” seatbelt campaign I viewed on television empowered me, as a child, to responsibility. Through lecture and studio student in OCAD U’s Master of Design in Strategic Foresight & Innovation be the agent for change by asking my parents to use their seatbelts. Similarly, courses, to theoretical and service learning program. She is working with Dr. Gary Rodin at the Princess Margaret hospital These examples of innovative contributions the famous “Crying Indian” (1971) commercial and the development of an pedagogies and learning activities, students to identify design elements in the environment of palliative care units that from OCAD U faculty members and students international recycle symbol (1970) were instrumental in promoting public are taught to think critically and responsively particularly engage the senses of the patients and their families in order to reflect the priorities of the university’s strategic awareness and action for safety, stewardship and sustainability issues that we to the human condition and to nurture a maximize quality of life. The goal is to discover the positive influence of sensory plan, and show the great potential of our embrace today. transdisciplinary understanding of the means experiences, such as light and colour, sound, scent, or touch, and how they institution’s impact on quality of life and well- The Industrial Revolution, responsible for the chaotic growth of urban areas and media that inform and cultivate the contribute to the patient’s experience. being, and for improving economic prosperity. across Europe and North America, produced the urban environments that stewardship of our finest societal values. were the incubators of infectious diseases in the late 19th century. At the start ------Unfolding the meaning of complex data sets of the 20th century, the leading causes of death were from infectious diseases Dr. Helmut Reichenbächer is OCAD University’s Dr. Gayle Nicoll is the Dean of OCAD University’s Visualizing complex medical data sets constitutes one of the Centre for Innovation like influenza, diphtheria and cholera. Environmental innovations in the Associate Vice-President, Research, and Dean, Faculty of Design. in Visualization and Data-Driven Design’s major research streams. In collaboration Graduate Studies. design of cities to include the provision and design of public parks, in addition with york University, the University of Toronto and Toronto’s medical 38 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 39 Burgeoning Mary MacDonald: bonfirecity (2011) Curators and Education The evolution of curating in Canada Photo by Zach Pearl past now: Curated by Suzanne Morrissette and Meryl McMaster: Horse, Buffalo (2010); Best Before (2011): Curated by Lisa Myers. Foreground: KC Adams, Lisa Myers. Photography by Meryl McMaster and By Rosemary Donegan The Gift That Keeps Giving (2011). Background: Suzanne Morrissette, painted woodcarvings by Luke Parnell. solve for spur to bum area, for some (2011). On the right: Peter Morin, Salmon and Bannock (2005/2010).

he work and practice of art omson and the Group of Seven as a Canada’s major public galleries. e rst curators—variously de ned nationalist art movement. formal museology program was established at as writers, organizers, By the 1950s, the line between directors, the Royal Ontario Museum in 1969, later T historians, stylists, friends curators, dealers and artists was becoming more becoming Museum Studies within the

of artists and intellectuals— distinctive, even though they often overlapped. University of Toronto. Photo by André Beneteau has never had such e new generation of gallery directors and e development of curating as a profession currency. In popular culture, the notion of the curators came from a variety of backgrounds. within public art institutions parallels the social curator has taken on a chic and contemporary Some were from undergraduate art history and cultural shifts of the late 1960s and 1970s in Toronto (1971), soon followed by one of these new critical voices, particularly institutional curators and critics/writers, while resonance as people curate auto collections, programs, a few were recent European that mobilized the energy of the period and in virtually every major city. Many of these in curatorial and critical writing, brought others have gone on to work in community poetry readings, branding campaigns and immigrants who had professional experience resulted in the establishment of new exhibition spaces focused on the new practices of video, together issues of representation, race and arts and education or to graduate school. clothing stores. Internationally, art curators in Europe before the war, while most learned spaces at the local/regional level and in major performance and installation art that de ned gender, in addition to a more theoretical Following the success of the undergraduate have been elevated into glamorous art stars in on the job starting as secretaries, framers, urban centres. e rst aspect of this shift was the exhibition space as a “vessel to be lled by approach to critical and curatorial practices. program, OCAD launched its rst graduate mega- exhibitions like Germany’s Documenta, registrars, artists and art teachers. In smaller an increase in regional public art galleries as the artists who used it.” is combination of artist-run spaces, program in Criticism & Curatorial Practices the Istanbul Biennale and Sydney Biennale galleries the curator would organize and install many cities, prodded by local artists and art Once established, the network of artist- art magazines and the funding of the arts in 2008. Now in its fourth year, the inter- where the independent transnational curator exhibitions, bring in travelling shows, run art societies, took advantage of federal Centennial run galleries were funded by the Canada councils supported an informal apprenticeship disciplinary program, while drawing on the often overshadows the artists. classes, work with local arts groups, write press funds to build new art galleries and exhibition Council of the Arts and various provincial system for artists, critics and curators that proximity of the local Toronto art scene and In Canada, curating has evolved from the releases, and probably sweep the oor before centres. ese new galleries were assisted by arts councils. With the various councils’ provided a creative laboratory for new art the Art Gallery of Ontario (AGO), integrates a historical notion of the institutional keeper an opening. e larger public institutions, such the federal government’s initiation of the acknowledgement of the principle of forms and a new generation of audiences. range of curatorial practices within a theoretical of the collection to a robust and engaged as the Art Gallery of Toronto, Royal Ontario National Museums Corporation in 1972 to paying artists exhibition fees (which ese varied investigations of new art framework emphasizing cultural history, research creative practitioner that reects the changes Museum and National Gallery of Canada, make museums and galleries more accessible had been advocated by Canadian Artists practices, critical theory and curatorial and investigation, analysis and critical writing. in contemporary art and exhibitions practices, hired graduates such as Robert Hubbard, Jean and to decentralize programs and activities. Representation) there were funds to pay practices that originally took place in bars, e success of OCAD University’s graduate and parallels the 135-year development of Boggs, Russell Harper and Doris Shadbolt Substantial sums of money were fed into public artists, and eventually fees for writers and galleries, lofts, artists’ panels and at conferences and undergraduate criticism and curatorial OCAD University from a small art school on from the new art history departments at galleries and museums to develop eective curators. Funding for exhibitions enhanced gradually converged in the 1990s into programs has provided young and emerging King Street West to the institution it is today. McMaster University, McGill University and administrative and registration procedures, and strengthened the independent curators’ formalized programs of study, in the form of curators and critics with an engaged education To understand the evolution of curatorial the University of Toronto. conservation, and to establish education role, which combined with the councils’ more critical and curatorial studies, within various in which they can develop their curatorial eye, education in Canada, it is necessary to In 1958, Alan Jarvis, then Director of the departments and extension services. e demanding jury processes required applicants art colleges and university art departments. write essays, undertake critical research, hang examine it within the larger historical National Gallery of Canada (NGC), initiated Museums Corp (as it was known) was integral to develop complex exhibition proposals It is within this Toronto context and in shows, paint walls, develop websites, organize context of Canadian art. At the beginning the rst gallery internship program, which to the establishment of a national network such as curatorial thesis statements, budgets, the exploration of “the artist as curator” that events and respond to local communities, such of the 20th century, the few art galleries included “some art history, as well as of local exhibition centres that oered young schedules and catalogue essays. OCA mounted its rst undergraduate courses as emerging Aboriginal curators, and most that existed in Canada either employed connoisseurship [sic] and museum graduates in art and art history positions in Simultaneously, curatorial and critical in criticism and curatorial practices in the importantly work directly with artists. local connoisseurs/artists, like Martin techniques.” Interns received practical training education and extension services departments. writing was fostered in catalogue essays, mid-1990s within the Sculpture/Installation It is tting that in celebrating its 135th Baldwin at the Art Gallery of Toronto, in management and administration, Many would go on to curatorial positions. magazines, books and eventually within program through the administrative eorts anniversary, OCAD University is graduating or hired English director/curators, such conservation, security and standards for Simultaneously, throughout the early academia in new art publications like of Ian Carr Harris. e Criticism & critics and curators who are entering the as Eric Brown of the National Gallery of installation, lighting and storage. In 1967, 1970s, the creative and energetic application Vanguard, Parachute, Fuse, C Magazine, Curatorial Studies (CRCP) interdisciplinary art and design world with big ideas, solid Canada. Curators as keepers of the collection the NGC expanded its internship program for of government employment funds, such Provincial Essays, M5V, Back Flash, Borderlines, program combined seminars in curatorial practical experience and new ways of undertook acquisitions when there was artists and art history graduates from U of T, as Opportunities for Youth and the Local Public. e energetic engagement with critical practices, critical writing, art history, eld thinking, writing and working with and about money, kept track of artworks, undertook McGill, McMaster, Université Laval, Université Initiatives Program (LIP) and the creative use writing reected the international interest study placements and thesis. Over the past art, design and media in the 21st century. basic conservation, organized and installed de Montréal and even OCA. Many of the of unemployment insurance bene ts, provided in critical theory in the art world and the 13 years the CRCP program has graduated --- exhibitions. Some, like Eric Brown, saw NGC summer students and interns from the the seed money for numerous independent paralleled development of feminist, gay and 69 students, many of whom are working Rosemary Donegan is an Associate Professor at his curatorial role as a promoter of Tom 1960s were to go on to long careers in artists’ exhibition spaces. e rst was A Space post-colonial art criticism. e development as independent curators, gallerists/dealers, OCAD University and an independent curator. 40 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 41

FUTURE

hose looking for a sneak companies looking to grow their business. peek at the future of This reflects the fact that Toronto has mobile might be surprised become a North American hub for mobile THE ART OF THE APP: T to learn that one of app development—there are now over 200 today’s most innovative companies in the GTA working hard to smartphone apps involves produce the next Instapaper or Angry Birds. HOW OCAD U IS FUELING the decidedly undigital game of tag. “But with any incubator, the people are the Which makes Matthew Milan, founder of real difference,” argues Milan. “And since THE TORONTO MOBILE Normative—a Toronto-based interaction Normative is a design-driven company, design company—an “It” boy. Literally. connecting with an institution like OCAD U Over the last 18 months, Milan has steered was a perfect fit. They get how we work.” EXPLOSION not one but two different mobile projects Kathleen Webb, the current Director of the through OCAD U’s Mobile Experience MEIC, agrees with Milan’s assessment. “People By Ryan Bigge Innovation Centre (MEIC) incubator. might call it a business accelerator or an incu- Normative Lab’s first mobile app, called bator, but it’s really just a room. It only becomes Red Rover, was completed in the summer an accelerator when you provide expertise and of 2010. “It” is an exploration of real-time, mentorship—all those extra layers of support.” location-based gaming. Or, as Milan Founded in 2007 by OCAD U and now a explains, an attempt to discover what happens broad not-for-profit membership organization, to simple games like tag or red rover when the MEIC is the latest example of OCAD U’s players can augment their sense of sight and long-standing commitment to mobile hearing through the radar-like capabilities of innovation—be it through research, app smartphones. “Mobile devices have become development or industry partnerships. Along cyborg-like extensions of people’s self,” with the MEIC, OCAD U also founded the says Milan, echoing a key theory of the late Mobile Experience Lab, a key partner in the Marshall McLuhan. “And being reliant on Mobile Commons Digital Network, and has the sensor systems in these devices has hosted a conference entitled Mobile Nation. become second nature to people.” But this acronym soup of organizations Normative Labs, meanwhile, has become (MEL, MEIC, MCDN) is meaningless without gently reliant on the resources, funding, results. And OCAD U university staff and interns and guidance the MEIC has provided. students, along with outside companies like As Milan notes: “We started the business with Normative Labs, have produced numerous a very clear understanding that you wouldn’t successful and innovative mobile projects be able to figure out what the future of inter- over the past five years. action design looks like if you didn’t have an Ads for the Apple iPhone like to boast that R&D function within your company. The MEIC no matter what you like to do, “there’s an app was invaluable in getting that function jump- for that.” But the history of mobile develop- started in our business early on.” ment at OCAD U proves that if you want Of course, the MEIC is not the only start- to create an innovative smartphone app in up incubator in Toronto—there are at least Toronto, there’s also a university for that. Courtesy Gabe Sawhney a half-dozen other options for new tech 42 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 43

Murmur, a Screenshot of Dave Colangelo and Patricio site-specific “ One of the really Red Rover map Davila at Nuit Blanche. mobile storytell- ing experience. beautiful things about mobile is that you can go through any circumstance, any situation and not damage anything.”

Normative Labs’ Red Rover app. Qosqo Llika postcard Photo by Bryce Macfarlane Photo by John McArdle Photo by Franco Deleo

A little over four years ago, on June 29, the loose,” as well as being “the marker beyond the phone itself. This included from Rogers Communications. Reflecting on Funded by FedDev, these initiatives involve university partner program, with OCAD U 2007, the first iPhone was released for sale. on a Ouija board through which direct distributing 5,000 music CDs to bus, cab his work in the mobile sphere, Davila believes establishing stronger connections between slated to be a pilot member of the And although Steve Jobs has a habit of contact between the living and the dead and garbage truck drivers, who played them that some of the most promising opportunities the university and small- to medium-sized program. The hope is that the Guardly app calling every new Apple product revolution- was made.” constantly, creating a soundtrack for the for apps involve “crazy ideas” and lots of businesses. They also involve mobile in could one day replace the blue security ary, in this case his description was entirely Although pleased with the end result, event. Meanwhile, four performance artists experimentation. “There still isn’t a category in some way, either as an interface for inter- poles currently in use on campus with a accurate. The smartphone explosion that the McIntosh now recalls that “one of the real roamed the city, projecting photographs on the iTunes app store for art,” he notes. active installations, as a platform for gaming, virtual version. iPhone helped inaugurate now means that frustrations I felt with that process was how to buildings and themselves. This productive tension between experi- or as a way to navigate information visual- Coincidentally, Normative Lab’s latest users can send and receive data from almost technology-specific it was. For people to “One of the really beautiful things about mentation and commercialization remains a ization projects. So, for example, in his work app, called Sousveiller, also involves security anywhere, while built-in GPS allows for participate you had to have one of our mobile is that you can go through any key element of OCAD U’s approach to with Echo Mobile, Sawhney is exploring a but approaches the issue from an opposite location-specific applications like Normative cellphones.” Overcoming this obstacle circumstance, any situation and not damage mobile. As Kathleen Webb of the MEIC variety of interfaces. “We really want to angle. Sousveiller is designed to document Lab’s Red Rover. Tag, among other things, clearly stuck with McIntosh, and became a anything,” notes McIntosh. “You don’t have explains, her mandate is to increase the explore the possibilities of a tangible inter- surveillance systems in urban areas and will never be the same again. central consideration when creating his most to install anything.” productivity of mobile app developers and face like the iPad offers, where you have a encourages users to take photos of security Equally important, of course, was the recent project, Qosqo Llika. A distributed Patricio Davila, an Assistant Professor help entrepreneurs get to market faster. In touchscreen and an accelerometer to cameras that are then pushed to a mapping creation of the App Store, which allowed documentary that took place over a week- in the Faculty of Design and a member of practice, this means connecting start-ups really give a different kind of experience for system that documents their location. Milan developers to sell iPhone software directly to long period in the winter of 2010 in Cusco, OCAD U’s Mobile Experience Lab, worked with mentors, providing access to free or exploring data visualization.” hopes that Sousveiller will be completed by consumers. Today, BlackBerry, Android and Peru, Qosqo Llika had a strong focus on on Qosqo Llika with David McIntosh. He discounted technology or taking new Like McIntosh, Sawhney believes that the end of the summer, and in the iTunes Windows-based phones provide users with inclusivity and accessibility. also co-created E-Tower, a mobile-phone companies to international conferences and mobile is most interesting when it’s defined App store soon after that. access to thousands of apps that increase In practice, this meant that his walking controlled art installation that premiered trade shows, such as Futurecom in Brazil, more broadly. “From a creator perspective, As foreshadowed by the 2007 OCAD U both the productivity and fun factor of their tour of 1930s Cusco (the former capital of during last year’s Nuit Blanche. Designed or Telecomm in India. the line between what’s mobile and what conference, we now live in a mobile nation. respective devices. the Incan empire) relied on a series of text to measure the fluctuating energy levels of David McIntosh’s next art project, isn’t is super fuzzy,” argues Sawhney. He And thanks to OCAD U, Toronto is now one The belief that mobile devices can messages that were timed to deploy at site- Nuit Blanche attendees over the course of meanwhile, will utilize three different touch- favours the phrase mobile experience, as it of the capital cities of that nation. Not that enhance our everyday lives is not confined specific locations along the route to help the evening, E-Tower asked people to text screen arrays, each composed of 16 tablets. presents an opportunity to rethink what a such an outcome was obvious four years to software and hardware manufacturers like people uncover the lost history of the city. the word “energy” to a specific number. The The idea is to connect participants in six smartphone app might involve. ago. The future, is after all, notoriously Apple, however. In March of 2007—three Messages were available in English, Spanish more texts the system received, the faster different South American cities, across three The multitude of apps now available means difficult to predict. months before the iPhone launched— and Quechua (a local Aboriginal language), the LED lights on the CN Tower pulsed—and countries and three different time periods. that art and productivity apps often coexist What OCAD U did foresee with great OCAD U hosted Mobile Nation, a four-day with more than 20,000 texts sent over a changed from cool to hot colours. McIntosh admits it’s an ambitious project: on the same phone. And while some prefer clarity was that a significant technological conference that explored mobile experience seven-day period. The project was developed with Dave “I mean it’s lunatic.” fuzzy mobile, Josh Sookman, the founder of shift requires a parallel shift in human design, locative technologies and games. McIntosh also worked to expand the Colangelo, a Ryerson PhD student, and Guardly, is crystal clear about the intent of his psychology. Which is to say that without the It was a culmination of the Mobile Digital definition of mobile, which meant moving received financial and technological assistance app. The Guardly app allows users to leverage MCDN and the MEL providing the theoretical Commons Network, a three-year, multi-million- their social network of friends and family to impetus, and artists willing to pursue seem- dollar research project with Concordia In 2003, Gabe Sawhney, Shawn Micallef help them during an emergency response situ- ingly crazy, fuzzy or lunatic experiments, the University, OCAD U and the Banff New and James Roussel created Murmur, a site- ation. The app harnesses “contextual data,” MEIC might be without projects to incubate. Media Institute. A year later, the findings of ALUMNI PROFILE: DANIELLE BLEACKLEY specific mobile storytelling experience as information that your social sphere would have Apps, as it turns out, aren’t just powered the conference were published in an anthology After finishing her undergraduate degree at Ryerson University part of their residency at the CFC media lab. access to (such as medical conditions or the by venture capital. Or all-night coding entitled Mobile Nation: Methodologies for in 2001, Danielle Bleackley spent numerous years travelling and Sawhney, now a master’s student in OCAD route you use to get home every evening), but sessions. Or even smartphone batteries. working as an arts educator and administrator. Her practice was Mobile Platforms edited by OCAD U’s mostly photo-based and she began to feel a desire to expand U’s Digital Futures Initiative program, is that 911 operators would not. Instead, the key element of the mobile Martha Ladly and architect Philip Beesley. beyond her photographic background. “I wanted to incorporate quick to stress that his work isn’t exclusively Sookman recently completed the MEIC’s revolution is imagination and creativity. One of the projects described in the new materials and processes, and get a bit messy,” says mobile. That said, he’s a founding member incubator program, in the process growing And for OCAD U, incubating these precious Mobile Nation anthology was The Haunting, Bleackley, who enrolled in OCAD U’s Interdisciplinary Master’s in of the MEIC steering committee. He has also his company from four employees to six. “I human traits has become the most impor- a multi-player, location-based cellphone Art, Media & Design. “I was keen to develop my writing skills worked on a series of research projects for think the MEIC is doing a lot of leadership tant element of the mobile revolution. and build on my knowledge of art theory, [and] it was also very game that utilized historical information the MEIC, including helping a large software to help mobile companies become more important for me to be immersed in my studio work and be --- about people buried in Montreal’s Mount connected with other artists in that studio setting on a company called NexJ Systems to integrate global,” notes Sookman, who is now one Ryan Bigge is a Toronto-based cultural journalist Royal cemetery. OCAD U’s David McIntosh consistent basis.” Since graduating from her master’s program, game mechanics into health apps for people of the MEIC’s Board of Directors. “And I and content strategist. His work has appeared spearheaded the project, and as he writes Bleackley has completed a Research Assistantship with recently diagnosed with diabetes. think the incubator is one of those on-the- in the New York Times Magazine, Toronto Life, and the Globe and Mail. He recently completed in Mobile Nation, the game reimagined the OCAD U President Sara Diamond, while her graduate thesis As part of his graduate work, Sawhney is ground initiatives that’s extremely valuable.” work, There Is A Light That Never Goes Out, was exhibited at a postgraduate degree in Interactive Art and cellphone “as a cage for these spirits on leading three research projects at OCAD U. Sookman is currently developing a the Board of Directors Gallery. Entertainment from the CFC’s New Media Lab. 44 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 45

DEREK ENG GRAPHIC DESIGN, 2011

When Derek Eng found himself less than inspired at his ad agency job a few years RAJNI PERERA ago, he knew it was time to make a change FOUR TO DRAWING AND and decided to try to find a way into an industry he had been passionate about PAINTING, 2011 since he was a kid—magazine publishing. WATCH He also knew that his commerce degree

from the University of Guelph wasn’t going OUT FOR No moss gathers on Rajni Perera. Having to get him where he wanted to go. After graduated only this past spring—with the a little independent research and career By Christine Sismondo Nora E. Vaughan Award, OCAD University counselling with a mentor in the industry, Medal, Spoke Club Membership Prize and Eng figured out that OCAD U’s Graphic SARAH ROTELLA the medal winner of her program—Perera Design department was the ideal place for Photo by Lino Ragnoa launched her career with a solo art show him. Citing “amazingly talented, friendly and INTEGRATED and an installation in Vaughan, Ontario. supportive” colleagues and instructors who MEDIA, 2011 She has become known throughout the helped him focus on magazine design, Eng SUNG WOOK PARK OCAD U community as an emerging talent is glad he made the right choice. INDUSTRIAL with a playful, cartoon-inspired take on While at OCAD U, Eng distinguished No question Sarah Rotella is going places. some rather weighty matters: images of the himself by winning the H.L. Rous Award at For starters, Los Angeles, where she is DESIGN, 2011 ethnic female body, hybridity, ethnography, convocation, in addition to winning the AIGA already working in film for a production

deities and sacrilege. Not to mention the Maine 2011 Abstract Conference Student Fung Photo by Richard company called Odd Lot Entertainment, pervasive dinosaurs. Competition and the Society of Publication which recently put out the Ryan Gosling Sung wook Park isn’t afraid to put all his eggs “I have friends from every discipline at this Designers Student Competition—twice. The movie Drive. But the award-winning in one basket. After deciding to immerse school. I think that is a really valuable part aspiring magazine designer also completed OCAD U graduate is also happy to receive himself in the world of design, he applied of going to art school or any post-secondary internships at More and W magazines. acclaim here in Toronto, where her short to only one school—OCAD U. “Fortunately, institution,” says Perera. “You make friends Currently, though, he is in New York City, animated film Bramula, about a cat who I made it in,” he says. “Becoming a good everywhere and then, at the end of your interning at his dream publication, Martha once lived as a vampire, was selected for designer and learning professional skills was tenure, you have a Criticism & Curatorial Stewart Living. screening at the Eighth Annual Student Film my only goal, so the professional faculty, Practice grad to curate you, a Printmaking “This was actually the magazine that got Showcase at the Toronto International Film consisting of professors like my mentor Scott major to make your prints, a Bachelor of me interested in editorial design,” explains Festival this summer. Chin, made me want to come to OCAD U.” Design for your site and promo, and a Eng. “It’s one of the few magazines that Rotella came to OCAD U with a degree in Luck probably didn’t have much to do

Material Art and Design specialist for your places as much importance on the visuals as Photo by Adrianna DiLonardo Film and Television production from Humber with it, given his outstanding performance saleable merch!” the text, so it’s been interesting to see how College but wanted to continue her schooling in the Industrial Design department. He won Perera draws inspiration from a wide the editors, art directors, stylists and photo to round out her skills. “I already knew the first prize in the Audi-Umbra Driving Design range of sources, including science and producers all collaborate to create a story.” production side of film and the technology competition, the Nora E. Vaughan Award, paleontology textbooks, comic books, Since Eng lived in Toronto for his entire side, the hands-on editing and using film Spoke Club Membership Award, OCAD

fashion imagery, contemporary kitsch, life, save the four years he was an under- software,” she explains. “But OCAD U gave University Medal and was the medal winner Photo by Chris Barnes pop culture and Bollywood, as well as the graduate student in Guelph, we asked him me a new skill set and a new way to think in his department for his project, Ami, a contrast between her adopted Canadian about the move to Manhattan to pursue his about the way in which I make films.” personal security device designed to help culture and her Sri Lankan heritage. She dream. “New York in the summer is crowded, Aside from winning the William F. White women in Haiti after the 2010 earthquake. adds that Toronto has been inspirational hot, noisy, and smelly. Yet, somehow, I love Scholarship—twice—and the 2010 Toronto Says Park: “I was inspired by refugees who because of the people she has met and it,” he says. “There’s an energy and diversity Animated Image Society Award, Rotella also have survived natural disasters, especially in the passion she has for the local art scene. here that’s hard to describe.” scored a chance to have her film viewed and Haiti, where women are suffering in silence There’s also the fact that the cold winter critiqued by Tim Burton at the TIFF student every day. I really wanted to help them and forced her to stay inside and work hard. film showcase. She says her connection with create something that would improve their Her family’s fear over the viability of a TIFF, which came through volunteering, has lives.” Park’s Ami is designed to help women career in the arts has also been assuaged by been fantastic for making connections with communicate with each other and relief her more than encouraging early success. people in the industry. She has also worked organizations about where to safely get food “Now my mother understands that my work is with Capri Films, Disney, the Liaison of and supplies, and was a response to the successfully selling and supporting me,” says Independent Filmmakers of Toronto and the problem of male-dominated relief centres and Perera. “I want to paint until I die, whether I National Film Board of Canada. a rising incidence of rape in what is known as sell or not. But I’d really like to sell, haha!” And while the independent study and Haiti’s sex-for-food problem. real-world film connections forged through Park recalls his time working in teams in the OCAD U have inspired her to express herself Industrial Design program, wherein professors, with films like Bramula, nothing inspired her classmates and technicians worked hard to more than her pet cat. “She does a lot of support one another and solve problems as crazy things,” says Rotella. a group. “It’s difficult to come up with a fresh, new idea,” says Park, who currently works at

Photo by Eugen Sakhnenko Umbra as a product designer, “but it’s worth Photo by Bryan Gardner it once you see a real product appear that will change lives for the better.” SKETCH 47 SCOTIABANK NUIT BLANCHE @ OCAD U SATURDAY, OCTOBER 1, 7 PM DON’T MISS OCAD UNIVERSITY’S SUNDAY, OCTOBER 2, 7 AM FIRST ANNUAL assume vivid astro focus PHILIPPE BLANCHARD OCAD UNIVERSITY H2.0 COLLECTIVE LOUISE NOGUCHI FUTURE th KELLY RICHARDSON 135 Anniversary Marquee

B27 FORWARD Event Listing

SEPTEMBER 2011 Faculty of Design Speaker Series presents Chancellor’s Welcome Back Event Blaine Brownell, Els Ziljstra, ALUMNI DAY September 8 Stephanie Forsythe (Butterfield Park) November 17 SATURDAY, MAY 5, 2012 (100 McCaul Street) FUTURE Faculty of Art Speaker Series presents Image courtesy of the artist and Birch Libralato Ricardo Dominguez DECEMBER 2011 11 AM to 2 PM, OCAD UNIVERSITY Ricardo Dominguez September 13 Alumni Association Holiday Schmooze WARD 100 McCAUL STREET (100 McCaul Street) December 6 (100 McCaul Street) Sci-fi and cinematic endeavours will Alumni Association Social Alumni Day is open to all alumni and September 20 FEBRUARY 2012 explore an imagined future and (Gladstone Hotel) Alumni Association Social celebrate OCAD University’s visionary their families and is part of OCAD U’s 97th annual Graduate Exhibition. February 7 spirit and forward-thinking outlook. OCTOBER 2011 (Gladstone Hotel) What will tomorrow bring: techno Scotiabank Nuit Blanche @ OCAD U – lust or future shock? Join us for this exciting event that features: 97th Annual Graduate Exhibition Future Forward Faculty of Art Speaker Series presents Alumni welcome from October 1-2 Carol Conde and Karl Beveridge OCAD U President Dr. Sara Diamond (100 McCaul Street) February 9 OCAD UNIVERSITY (100 McCaul Street) Outdoor BBQ 100 MCCAUL STREET “a retrospective of works that have Guided tours of the Medal Winners’ Exhibit never been seen” – assume vivid astro MARCH 2012 Fun activities for kids focus Opening Sumo Robot Challenge October 1 March 3 (Onsite [at] OCAD U) (100 McCaul Street)

Colloquium - Revisioning the Indians of OCAD U Alumni Exhibition TO REGISTER FOR THIS EVENT, PLEASE VISIT Canada Pavilion: Ahzhekewada, Let Us March 6-30 WWW.OCAD.CA/ALUMNI www.ocad.ca Look Back (Gladstone Hotel) October 15-16 Design: Kevin Boothe and Patricia Pastén Design: Kevin Boothe and Patricia Pastén (100 McCaul Street) Project 31 March 29

Toolbox Tradeshow (100 McCaul Street)

£ ¡¤£U¥¦ §¨©¦ ¦ ¦ O¥ O ¡¢ October 27 (100 McCaul Street) APRIL 2012

Faculty of Art Faculty Exhibition  C OR ART & DESIGN Look Inside (Brinks Building) SUBMISSIONS FROM ALL October 29 DISCIPLINES (100 McCaul Street) MAY 2012 97th Annual Graduate Exhibition Alumni of OCAD University are invited to submit work for 2012: The OCAD U digifest May 3-6 Alumni Exhibition, a juried exhibition and sale that will encompass all of the Carol Conde and Karl Beveridge University’s twelve disciplines. October 29 (100 McCaul Street & Sharp Centre for Design) COntinuinG Opening in March 2012 at the Gladstone Hotel in Toronto, this exhibition offers alumni a great way to showcase their work and connect with OCAD University Onsite [at] OCAD U Gallery Launch Opening Night – May 3 and the OCAD University Alumni Association. High School Students & General Public – May 4 October 29 studies (Onsite [at] OCAD U) Alumni Day & General Public – May 5 Submissions will be accepted through General Public – May 6 December 1, 2011 AT OCAD UNIVERSITY OCAD University’s

135th Anniversary Date JUNE 2012

         ! 2 2 October 30 Alumni Association Meeting & The Office of Continuing Studies offers March 6 - 30, 2012 End of Year Social Opening Reception: Friday, March 9, 2012 NOVEMBER 2011 June 5 Gladstone Hotel a wide range of courses to increase your President’s Lecture Series presents creative potential, build your career or explore 1214 Queen Street West Convocation & Chancellor’s Installation Toronto Gilberto Gil new areas of art and design. November 7 June 8 Proceeds will support the OCAD University Alumni Association and its projects, (Roy Thomson Hall) including crucial support of scholarships, awards and bursaries, biannual exhibitions and the OCAD University Alumni Window Gallery. National Portfolio Day www.ocad.ca/continuingstudies Sumo Robot Challenge November 12 For more information on these and other Contact: Amanda McKinney (100 McCaul Street & events please visit www.ocad.ca [email protected] Phone: 416.977.6000 ext. 383 Fax: 416.977.7292 416 977 6000 x 2266 Email: [email protected] Sharp Centre for Design) 48 SKETCH OCAD UNIVERSITY AT 135 YEARS SKETCH 49

“ IF I WAS TO FOLLOW MY HEART We are delighted to recognize all of those whose generous contributions support OCAD University, AND PURSUE THE ARTS, THERE helping us to provide students, faculty and staff with an exceptional learning environment within which THANK YOU TO WAS ONLY ONE INSTITUTION ON they can flourish. It is because of the support from those listed among these pages that we continue to OUR DONORS THE RADAR FOR ME.” nurture, develop and promote our students and faculty as they drive Canada’s creative economy. – SAJ JAMAL On behalf of the students, faculty and staff of OCAD University, we thank you for your generous support. (AOCA, ENVIRONMENTAL DESIGN, 1990) Listed here are those whose gifts to OCAD University were made between June 1, 2010 and May 31, 2011.

CHANCELLOR’S CIRCLE Watt International Inc. John and Patricia Fletcher Amanda Almeida Jason Gilbert Janet McGee Jared M. Steinfeld Joga Bonito Gifts of $25,000 and above Carol Weinbaum and Nigel Schuster Four Seasons Hotels Limited Michael E. Angus Cheralea Gilbert Barbara McGivern Judy and Daniel Stoffman Martha Edna Breithaupt Autodesk Canada Inc. Jane and Eb Zeidler Simon Glass Garry F. Anthony Jane Gill Fiona McGrath Carmen Stone-Kondrat Lisa Brown Apple Canada Inc. Peter Ziegler Linda and Robert J. Goldberger Alexandra Arnett Mae Giroux Duncan McLaren Petro and Kateryna Sydorenko Tony Cooper George and Martha Butterfield Anonymous Karen and Owen Gordon Michael Augustine Barry Glaspell June McLean Kelly Szeler Robin and Doreen Cumine CTVglobemedia Grassroots Advertising St. Clair and Marci Balfour Susan and Michael Gouinlock Gili and Lorne Merkur Stephen Taylor Wendy Curtis The Counselling Foundation of Canada CURATOR’S CIRCLE Al and Malka Green Colette and Tom Barber Colin and Sherrill Graham Froim and Ruth Merkur The Friends of Verant Richards Jacques Dagenais First Capital Realty Gifts of $2,500 to $4,999 Andrew and Antoinette Guido Dr. Frank Barrett Alba (Viggiani) Graner Erin Metzler and Geoff Cobham The Japanese Paper Place Catherine Daigle Margaret and Jim Fleck Sandra Altwerger Jules Hawryluk Anne Barros Malka S. Greene John and Adria Miller Mary Lou Thomson Mary E. Dignam Richard J. Kostoff &Co Architects InterAccess Electronic Media Battat Contemporary Christopher Grimston Doreen MacAulay Milligan and Marguerite Thorpe Finlayson Rodney Dunn Mark McCain and Caro MacDonald Robert Andrews Arts Centre Sandra and Geoffrey Beattie Brian C. Groombridge Peter Milligan Sue Todd Albert Fisher Mercedes-Benz Financial Services Aspen Ridge Homes Mimi Joh and John Carnella Paul and Kaye Beeston Marcello J. Grossutti Morton Mitchnick and Toronto Animated Image Society Mrs. W. O. Forsyth Partners in Art Barbara Astman K.M. Hunter Charitable Foundation Bell Canada Franca Gucciardi Barbara McLean Toronto Image Works Daniel Guido Research in Motion Claire Bailey and Tyler MacNamara Robert P. Kaplan Cameron and Cindy Bennett Michael Haddad and Scott Lyall Tony S. Morgan Distinguished Mature Artist’s Fund, Ross Fletcher Ada Slaight Catherine Beaudette June Kenner Edie Bergl Adam Haight Ian Morrison c/o Toronto Community Foundation Eric Freifeld TD Bank Group Family of Lisa Brown Jean-Christian Knaff Isabel Beveridge Robert Haines and Robert Hart Jennifer Morton Toronto Star Frederick Hagan TD Insurance Meloche Monnex Sebastien Centner Michael and Sonja Koerner Anu Bhalla and Grant Kedwell Julie Hannaford Sarah Mulholland and David Toyne, Steadyhand Emanual Hahn The Jack Weinbaum Family M. Joan Chalmers, C.C., O.Ont. James and Elske Kofman Andrew T. Bishop Spencer J. Harrison Christopher Kebbel Investment Funds David Hall-Humpherson Foundation Coyle Corrugated Containers Inc. Janine Kovach Stephen Boake and Lise Browne Faith Harvey Jo-Ann Munro Trinity Square Video Edwin D. Harris Curry’s Artists’ Materials Jan Krizan Bonham & Co. Inc. Matthew Hawkins Catharine Murray University of Toronto Ahasiw-Maskegon Iskwiw PRESIDENT’S CIRCLE Michael Detlefsen and Louise Le Beau A. Kunz Borgo Contract Seating Haworth Ltd. Arturo Nagel Sunao Urata Lyn Jamison Gifts of $10,000 to $24,999 Dr. Sara Diamond Macquarie Group Foundation Tania Bortolotto James H. Hazel Hartley R. Nathan Bette Vanderwerp Anne Adler Kagan Aboveground Art Supplies Jack R. Dixon Alison McQueen E. Ross Bradley Ron Wood / Heartline Pictures Inc. Nancy Naylor Sam A. Vise Samuel Lazar Kagan Bloor-Yorkville Business Jeff Elliott Jim E. Lawrence Mike Brady Lee Henderson Hester P. Newton Selina Waxman Michele Cowan Kolber Improvement Area Flat Iron Building Group Inc. Helen Lerberg Kelly Breadner Lyman and Ann Henderson Dr. Jane Ngobia Paul and Lynda Weese Tom La Pierre Borden, Ladner, Gervais LLP Diana Gerrard and Stephen Wells R. G. Macdonald Elisa Brigden Elliott Mary Henderson Mr. Ashley F. Nitkin Philip and Nancy Weiss Carmen Lamanna Fonds Quebecor (PDPT) Helen and Ian Giffen Bertha MacElwain Robert Broad Karen J. Henry David J. Novak Anne Weisz Arthur Lee Frederick and Douglas Dickson Gary Gray Hugh Martin Lynda Budd and Owen Lawson Dona Hettle Pia and Timothy Nummi Patricia A. Wheeler Victoria Littman Memorial Foundation April Hickox James and Jane McMyn Ira Buhot-Perry Eric Hiebert Paul D. Oberman Jacob Whibley Wayne Lum GestureTek Inc. Simone Jones Mercon Construction Carl Burrell Nancy Hilborn Open Studio Michèle White David Macdonald Hadrian Manufacturing Inc. Anda Kubis Marianne and Sandy Miller Sandy Burston Pamela and Paul Hillen OPSEU Local 576 Stephanie White Peter MacElwain Marjorie Hancock Leo Kamen Gallery Robert Montgomery Rachel Busbridge Johanna Householder Shari Orenstein Colette Whiten Duncan MacPherson KPMG Catherine McCall Rosalyn Morrison Mary Butler Yee Huang Trish Osler-Gould Paul S. Whittington Herb McCarthy Mangiacake Panini Shoppe Dr. Sarah M. McKinnon Charlotte Muskat Wendy Cain Natalka Husar Michael Page Peter J. Wilkins Sandra McQueen Mark McQueen Laura Millard Tom Newton Donna Campbell Imperial Smelting and Refining Co. Ltd. Maria A. Parrella-Ilaria Michelina Williamson Ross Mendes Métis Nation of Ontario Nexus PM Inc. Deborah C. Noble Curveira Canada Council for the Arts Richard and Donna Ivey Rose Patten Gregory H. Woods Sharon Merkur Morgan Stanley Canada Limited Nienkämper Furniture and OCAD U Student Gallery Louise and Norman Capper Tom and Joyce Jackson / Daniel Payne Catherine Woodward Andreas Neidl Nexus Investment Management Inc. Accessories Inc. Ontario Association of Architects Wes and Mary Lou Carter Accuscreen Supplies Ltd. Dawn Pearcey Dr. Donna Woolcott Patricia Chadwick Newton OCAD University Alumni Association OCAD University Faculty Association Rundi Phelan Andrea Caskey Bentley Jarvis Bruce and Catherine Peer b. h. Yael Vida Peene Donald and Gretchen Ross Dr. Michael Owen Phil Lind Foundation at Aqueduct Steve Chan Margot Jeffery David Pellettier Judi Michelle Young and David H. Ross Dr. Eugene A. Poggetto Sir Neil and Lady Elizabeth Shaw Luke Painter Foundation Charles Street Video Jim Johnson and Mark Robert Marjorie Pepper Louise Zurosky Bill Poole Tesari Charitable Foundation The Estate of Margaret Victoria Paull Margaret Poole Barbara Chilcott Tracey Johnston-Aldworth Gordon Peteran and Elaine Brodie Anonymous (25) Edwin D. Procunier The Spoke Club Diane Pugen Margaret Priest Scott Clark Elizabeth A. Jordan Tim Peters Kym Pruesse TICEF RBC Foundation Provincial Chapter of IODE – Ontario Helene Clarkson Betty Ann Jordan Paulette Phillips TRIBUTES Gordon Rayner William F. White International Inc. Mary Robertson Niko Pruesse Simon A. Clements Rebecca A. Kacaba John Pinkney Gifts were made in honour or in George A. Reid Xerox Research Centre of Canada Robert and Kathleen Rueter D. Kristjanson / Purchase Janis Cole Deborah Kaplan Sally Pitfield memory of the following individuals: Verant Richards Anonymous John Scott Carol and Morton Rapp Maria Costanzo-Paola Diane Karnay Robin Porter James Robertson Peter Sramek Charles Reeve John Coull Sarah and Terry Kavanagh Mary Jean and Frank Potter In Honour H.L. Rous DEAN’S CIRCLE Jeff Stober Lauchie Reid Flora Courteau Sandy Kedey Susan Potts Earla Alexander Barbara Sauerbrei Gifts of $5,000 to $9,999 Gary Taxali Graham Roumieu Kelly Crossman Joan and Fraser Kelly Earl G. Preston Dr. Tony Belcourt Eva Schindelheim Annan & Sons The Al Green Gallery Rochelle Rubinstein Jeffrey Crossman Dave Kemp Julia Price Joan Burt Klaus Schoenefeld James C. Baillie Lorne Toews Jan and Robert Sage Bernard Crotty Laura Kilpatrick Victoria Prince Joan Eiley Franc Joubin Canon Canada, Inc. Christopher Varley Ravi N. Shukla Sally M. Cumming Scott and Connie Kilpatrick Maria Tina Reyes Tassiopoulos Suki Falkner Paul Stephens Corus Entertainment Inc. John and Barbara Vivash Heather Simmons Will Davies and Ruth Flower-Davies Lily Kim Celia K. Rhea Mary Egan Haines Dorothy Stevens Michael B. Davies Women’s Art Association of Canada Fiona M. Smyth Nicky Davis Robert Koblinsky Julie Rickerd Av Isaacs Marion Sutton Michael and Honor de Pencier Stephen Bulger Gallery Jim de Wilde Stan Krzyzanowski and Philip Robson Olga Korper Bill Taylor Direct Energy STUDIO CIRCLE Nan L. Stewart Antoinette DeSimini-Caruso Anna Payne-Krzyzanowski J. Mark Rodger June Kostoff Allen Turner DraftFCB Gifts of $1,000 to $2,499 Sumo Robot Challenge Rita Deverell Cheryl Larson Eric M. Roher Gordon Macfarlane Marsh Urquhart EPSON Canada Ltd. Nicholas Aoki Dermot Sweeny Joanne Dolfato Alicia Laumann Benny Romano James A. McMyn Jan van Kampen Gee Jeffery & Partners Inc. Arts Etobicoke Taylor / Hazell Architects Ltd. Rosemary Donegan Duane J. Ledgister Harold Rosnick Gregory A. Milavsky Ruby Crichton Vivash Temma Gentles Art Works Art School The Norman and Margaret Jewison Judith Doyle Eric Lee Nancy Roth Gold Anne Mirvish Alfred T. Vivash Gillian Iles Peter Banting Charitable Foundation Drapery Trade Service Limited Heeyol Lee S. Golvin Charitable Fund Charles Pachter Sir Edmund Walker Rae Johnson Guy Beaudin Marie-Josée Therrien Eileen Ebin Scot Leigh-Bennett Dr. Taube Samuels Josephine Polera William and Phyllis Waters JWT Carole Beaulieu Ian Tudhope and Marianne McKenna Gwen Egan Janet L’Heureux Eric Sangwine Christopher Pratt Don Watt Ernie and Louise Kerr Diana Bennett and Spencer Lanthier Unisource Canada Inc. John P. Ellis Susan and Rick Little Brian J. Saxe Kenneth H. Rodmell Patricia Watt Lang Michener LLP Catherine Bray Vancouver Foundation – Cass Enright Lo’s Arts Gallery Justice Brian M. Scully Jan Sage Charles Wetmore Leo Burnett Company Ltd. Barbara Bregman Tanabe/Thorne Fund Nancy Evans John Lott Vikas Sharma Rosalie Sharp Edward and Dorothy Williams Alex Livingston Douglas Brown and Nina Pruesse Maurice Vellekoop Exclusive Film & Video Services Caroline W. MacFarlane Stacey Sharpe Lady Elizabeth Shaw Owen Wilson Alexander McLeod Peter Caldwell and Stephen Mader George Walker Sarah Eyton and Jason Gould Donna MacLean / Community Lindsey Shaw Catering Ron Shuebrook Gail Yacula Roderick McQueen Chair-man Mills Inc. Westbury National Show Systems Ltd. Sandy Fairbairn Foundation of Medicine Hat & Martin P. Shewchuk Ada Slaight Frances Lea Ziegler Sarah Nind David Chavel Westparks + Associates Inc. Kelly Faller Southeastern Alberta Dorothy Shoichet Mimi Vandermolen OCAD U Printmaking Faculty Esther Choi Winberg Foundation Elizabeth Feld and Len Gangbar Mary E. MacLellan Gary Silverberg Mary West Pratt If your name was omitted, listed Josephine Polera Valerie and David Christie Women’s Art Association of Hamilton Candace Ferriss Alastair MacLeod Michele Slepekis Mabel Woods incorrectly or misspelled, please Lino Ragno Contemporary Furniture Rentals Inc. Anonymous Beatrice and Martin Fischer Tamela Rose Madden April Solman notify Karen Henry at 416-977- Roma Moulding Inc. Cathy Daley Barbara and Hugh Fletcher Anne Maggisano Dan Solomon In Memory 6000, Ext. 487. We apologize for The Estate of Elizabeth Smith Peter and Camilla Dalglish FRIENDS Peter B. Fortey Joan Maggisano Solway Metal Sales Ellen Adams any inconvenience this may have Steam Whistle Brewing Inc. Dan Donovan Gifts up to $999 Julie Frahar Arnaud Maggs Dr. Vlad Spicanovic Irene Andrews caused. Thank you for your support. Temple-Rock Blair Drawson Safdar A. Abidi Attilio Francella Kul and Eva Mani Robert Sprachman Patricia Joy Alpert The Howitt Dunbar Foundation Claire Duckworth and Darren Samur Debbie Adams Richard Fung Ralph Marriott Heather Spratt Bluma Appel The Roman and Mary Schneider Eight Elm Photo and Video John Aivalis Gallery 44 Anna Marrison and Patrick Travers Allan Stanley Edward David Aziz Foundation Federation of Chinese Canadian Akimbo Art Promotions and Consulting Gesswein Canada Marilyn Maslovskis Tony Stapells David W. Bain Tony and Jane Urquhart Professionals (Ontario) Education Beth Alber Phillip Gevik Donald Jeune Matthews Marie Stauch-Sweeny Paul Baker Vistek Ltd. Foundation Deborah Alexander Sarah and Toby Gibson Ann G. McConnell Anne Stein Elizabeth Blackstock