OCAD University Open Research Repository

2008 Sketch McLennan, Leanna and Kostoff, Larissa and Diamond, Sara

Suggested citation:

McLennan, Leanna and Kostoff, Larissa and Diamond, Sara (2008) Sketch. College of Art & Design, , Canada. Available at http://openresearch.ocadu.ca/id/eprint/1288/

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. WINTER 2008

A Publication for the Alumni, Students, Faculty SKETCH and Staff of Ontario College of Art & Design WIl KuCEy of lE GallERy Background artwork: katie Pretti (’03), damsels and distress #2, 2007. mixed media on PaPer, 42" x 50". SKETCH Photo By marina demPster The Ontario College of Art & Design is Canada’s Produced by the OCAD Marketing & “university of the imagination,” engaging in Communications Department education and research and contributing to the Designed by Hambly & Woolley Inc. fields of art and design, local and global cultural Contributors for this issue initiatives, and knowledge and invention across Larissa Kostoff, Leanna McLennan a wide range of disciplines. Date of issue January 2008 Sketch magazine is published twice a year by the Ontario College of Art & Design for alumni, friends, The views expressed by contributors faculty, staff and students. are not necessarily those of the Ontario College of Art & Design. President Sara Diamond Charitable Registration #10779-7250 RR0001 Vice-President, Academic Sarah McKinnon Canada Post Publications Vice-President, Administration Peter Caldwell Agreement # 40019392 Associate Deans, Faculty of Art Printed on recycled paper Simone Jones, Vladimir Spicanovic Associate Dean, Faculty of Design Steve Quinlan Return undeliverable copies to: Dean, Faculty of Liberal Studies Kathryn Shailer Ontario College of Art & Design Chair, Board of Governors Tony Caldwell 100 McCaul Street Chair, OCAD Foundation Gregory Milavsky Toronto, Ontario President, Alumni Association Sally Cumming Canada M5T 1W1 Telephone 416.977.6000 Facsimile 416.977.6006 www.ocad.ca

CoNTENTS WINTER 2008 A Publication for the Alumni, Students, Faculty and Staff of Ontario College of Art & Design fEaTuRES

The Changing Face of Curating: Criticism & Curatorial Practice at OCAD by Leanna McLennan Page 8 ColumNS Investigative Intelligence: Think Tanks Proliferate at OCAD From Our President by Larissa Kostoff Page 2 Page 11 On Campus Page 3

Alumni Notes Page 18

Emerging Alumni Profile Page 22

Donor Recognition Page 24 Recent OCAD student initiatives link art and design with the larger community, another key aspect of our Strategic Plan. In this issue of Sketch, you’ll read about fRom ouR pRESIdENT Think Tank, our design course emphasizing interdisciplinary practice, ethics, community building and sustainability. This past holiday season, one group of Think Tank students partnered with local Toronto restaurants and the Daily Bread SaRa dIamoNd Photo By tom sandler Food Bank to launch the Bread Project, a one-day event wherein restaurant patrons were asked to donate a dollar, added onto their bills, for the bread accompanying their meals. Proceeds went to the Daily Bread Food Bank, whose This issue of Sketch reflects the many ways OCAD is moving forward in immediate goal is to feed adults and children struggling with hunger across the the implementation of our new Strategic Plan — Leading in the Age of GTA, and whose ultimate goal is to eliminate the need for food banks altogether. Imagination. It has been an exciting and challenging year. The President’s Lecture Series brings leaders in art, design and other Ensuring excellence in our learning environment drives our Strategic Plan. fields to Toronto to share their expertise with us. Upcoming visitors include For this reason, OCAD launched the Centre for Innovation in Art & Design Cameron Sinclair, David Buckland, Dr. Ron Baecker, Gary Clement and Carol Education (CIADE) with significant seed money from the Government of Squiers. We continue a series of brainstorming salons that are resulting in Ontario — $150,000 per year for three years. action plans, research and curriculum innovation. These include initiatives in CIADE will support our already excellent faculty in their efforts to stay up sustainability and a large-scale consultancy on digital media that will shape to date and teach to different capacities and styles. It will implement pilot our Digital Futures Initiative with learning, organizational and industry partners. curriculum programs identified in the Strategic Plan and will encourage We’ve received funding from Ontario’s Entertainment and Creative Cluster faculty to build a research context around teaching and learning strategies Partnership Fund to work with academic, industry and policy partners to in these programs. CIADE will provide workshops, seminars and one-on- develop a Mobile Experience Innovation Centre. It will further research and one mentorship as well as regular consultations between faculty members, innovation in mobile applications, services, technology and infrastructure. administration and students on the development of the New Ecology of We’re delighted that Dr. Michael Owen is on board as our new Vice- Learning (NEL) as we create our exciting new curriculum and consolidate President of Research and Graduate Studies. OCAD will offer three new existing areas of knowledge. programs next fall — an Interdisciplinary Master’s in Art, Media and Design, Our new Chancellor, James K. Bartleman, was welcomed in an exhilarating an Executive Master’s of Design in Advertising and a Master’s of Fine Arts in and culturally diverse celebration this past fall. He is already at work helping Criticism and Curatorial Practice. We also feature the work of CRCP (Criticism to implement key aspects of our Strategic Plan: the creation of programs & Curatorial Practice) students and alumni in this edition of Sketch. This work with and for Aboriginal artists, designers and youth; the internationalization has inspired the graduate counterpart to this undergraduate program and is of OCAD and building our ties to diverse communities and cultures through colourfully represented by our featured cover personality— rising curatorial outreach and curriculum. bright light and LE Gallery owner Wil Kucey. Our international efforts have accelerated with recent trips to the Whodunit? — our annual fundraiser chaired by Anu Bhalla — brought United Kingdom, which have resulted in large-scale collaboration in $300,000 to enhance student excellence innovation and creativity, a agreements with Goldsmiths, University of London, and the University of 28-percent increase in revenue over last year. And in these pages of Sketch, Brighton as well as plans to collaborate with other institutions such as you’ll meet one of the people who helped make this spectacular event SMARTlabs Centre at the University of East London and the Royal College of happen: our new Executive Director of Development, Jessica Kamphorst. Art. Projects with the National Institute of Design in India are also underway You are our community and our partners. Please join me in celebrating our as a result of our memorandum of understanding with that prestigious newest leaders and most recent achievements. They inspire all of us at OCAD institute, as is an impressive new project with ZKM in Germany on cultural and signal a cardinal year for the university in 2008. tourism and mobile experience. —SARA DIAMOND NEW CHaNCElloR CElEbRaTEd This fall, the Honourable James the cultural and social diversity of K. Bartleman, Ontario’s former metropolitan Canada. Lieutenant Governor, joined us as On November 7, 2007, the OCAD OCAD’s second Chancellor, suc- community officially welcomed its ceeding Rosalie Sharp. As the titular second Chancellor with a stirring cer- head of the university, the Chancellor emony and reception. In attendance presides at convocation and is an were numerous friends and dignitar- honorary member of the Board ies, cultural and business leaders, of Governors and the President’s and political movers and shakers. An Advisory Council. The Chancellor official Vice-Regal salute and invoca- acts as an ambassador on behalf of tion from Elder Alex Jacobs provided the institution and works closely with a rousing start to the event. Among the president in developing resource the many highlights were greetings capacity and outreach activity. from members of our senior adminis- The Hon. James K. Bartleman is tration, the Board of Governors and a celebrated advocate for Aboriginal the Hon. David C. Onley, Lieutenant literacy in all media, racial equality Governor of Ontario; a dance/drum and the rights of the mentally ill. He presentation and honour songs; and brings to the position many years of a reading of poetry on behalf of all diplomatic service and is a passion- faculty. After his own address to the ate internationalist. Himself a writer, guests, Chancellor Bartleman was Chancellor Bartleman exemplifies presented with a piece of jewellery the undeniable fact that art and commissioned for him by OCAD design practices are explored through and created by artist Margaret Lim a diversity of cultures, disciplines, (Material Art & Design, ’07). The wear- forms of literacy, methods and able sterling silver pendant captures approaches. As such, he will assist images of both contemporary OCAD the university in fostering an educa- and the Chancellor’s boyhood home tional environment that best reflects in Muskoka.

abovE, lEfT a moRNINGSTaR RIvER TRadITIoNal daNCER IN a daNCE/dRum pRESENTaTIoN. oN CampuS Photo By christina gaPic pG3 Top RobERTa JamIESoN, pRESIdENT aNd CEo, NaTIoNal aboRIGINal aCHIEvEmENT aWaRdS, aNd THE HoN. JamES K. baRTlEmaN Photo By christina gaPic

mEET JESSICa KampHoRST …aNd dR. mICHaEl oWEN academic interests in the humanities This fall the OCAD community Dr. Michael Owen joined OCAD and education. While at Ryerson, welcomed Jessica Kamphorst, who this fall as Vice-President, Research Saskatchewan and Brock, Owen also joined us as Executive Director, & Graduate Studies. An experi- worked extensively with faculty from a Development & Alumni Relations, enced and accomplished educator, diverse range of disciplines, including and President, OCAD Foundation. academic and administrator, Owen photography, dramatic arts, dance, Kamphorst has an MBA in Arts most recently held the position of radio and television arts, and digital and Media Administration from Associate Vice-President, Research & new media. the Schulich School of Business. International Development, at Brock Owen’s arrival signals the introduc- She headed the sponsorship team University, where he was tenured tion of three new graduate programs at the Toronto International Film Professor in the Faculty of Education beginning in September 2008 — a JESSICa KampHoRST Photo By Patricia Pastén Festival Group. More recently, she since 2004. Prior to that, Owen was milestone in OCAD history. Owen will was Director of Development at Director of Research Services and assist the university in further devel- Soulpepper Theatre Company, Adjunct Professor, also in the Faculty oping its unique, highly collaborative leading the campaign that built the of Education at Brock. research mandate. Young Centre for the Performing Owen’s academic administra- Arts in the Distillery District. Says tive experience includes previous Kamphorst: “OCAD is a remarkable terms as Director, Office of Research institution. Given the university’s Services, both at Ryerson University rich history and dynamic future, I and the University of Saskatchewan. know we’re going to be extremely With his Ph.D. from the University of dR. mICHaEl oWEN Photo By Patricia Pastén successful in generating new funds. Toronto and a Master’s of Education I’m thrilled to be part of such a vital, from the University of Alberta, changing place and to play a role in Owen’s studies reflect his broad its growth.” A designer, researcher and former OCAD faculty member, Buxton is now Associate Professor in the Department of Computer Science at the . He is also Principal Researcher at buTTERfIEld, buxToN Microsoft Research. Both men have aNd CaRR-HaRRIS received numerous awards and RECoGNIzEd IN 2007 accolades. George D. Butterfield and Bill Buxton This year’s Convocation ceremony each received Honorary Doctorates also gave us occasion to celebrate at OCAD’s 2007 Spring Convocation Ian Carr-Harris, a treasured fac- ceremony. A noted philanthropist, ulty member and 2007 recipient of Butterfield is co-founder of the the Price Award for Excellence in luxury active-travel firm Butterfield Teaching. A sculpture and installa- & Robinson. As Chair of OCAD’s tion artist, Carr-Harris was one of Capital Campaign from 2002 to 2005, six recipients of the 2007 Governor he was critical to the success of General’s Award in Visual and Mixed the internationally acclaimed Sharp Media Arts. He is also an internation- Centre for Design. ally recognized writer.

Top bEloW IaN CaRR-HaRRIS 205 RICHmoNd STREET WEST Photo By martin liPman Photo By john Plow oN CampuS courtesy of the canada council for the arts

abovE bIll buxToN aNd GEoRGE d. buTTERfIEld Photo By greg tjePkema

CampuS GRoWS WITH offices, offices for graduate students NEW buIldING and faculty, and meeting/seminar The Council of Ontario Universities space. The first two floors, which most recent “Inventory of Physical have a separate entrance on Duncan Facilities of Ontario Universities” Street and can therefore have identified OCAD as having just 40 different hours of access, will be percent of the space it needs based ideal for activities such as exhibition on current undergraduate enrollment. space, community gathering space, This makes the acquisition this fall research studios, computing facilities of 205 Richmond Street West, a and certain types of undergraduate seven-storey industrial office structure thesis space.” just down the street from OCAD’s In addition to its being partially main building at 100 McCaul Street, a tenanted and therefore much more good reason to celebrate. affordable in the short term, the Says Peter Caldwell, Vice- building has some key assets, President, Administration: “With including its proximity to the OCAD this building, OCAD will gain nearly campus. Also significant is the fact 70,000 square feet of much-needed that it is in excellent, almost move-in space for research and administrative condition with fully accessible existing passenger and freight elevators and very high ceilings. OCAD’s Board of Governors as well as its senior management feel that the acquisition of 205 Richmond West represents a move in the right direction for the university — one that, as Caldwell points out, “is affordable, responsible, appropriate and relatively risk-free.” The Naming Project is spearheaded by the Communications Committee of OCAD’s Board of Governors, with other members invited for their specific expertise. Throughout this past fall, members of the broader OCAD community were also invited to make their opinions and preferences known. After a lively community NamING pRoJECT brainstorming session on September pRovES ENGaGING 10, 2007, the Communications OCAD has set out with some vigour Committee appointed a sub- to examine the pros and cons of committee of professionals to changing its institutional name. Since create a Request for Proposals from receiving degree-granting status commercial companies interested in 2002, OCAD has evolved into a in conducting a name and brand uNIvERSITy lauNCHES NEW WEbSITE specialized university. Circumstances audit for OCAD. The findings of the This past fall, OCAD assumed a new online identity. have shown, however, that retaining consultant retained to assist OCAD The site — www.ocad.ca — is markedly more dynamic, the word “college” in OCAD’s — MJ Braide Corporate Development accessible and interactive. It also highlights the work of institutional name is still cause for — will allow the Committee to make OCAD students, faculty and alumni. Anticipate confusion, particularly with respect to recommendations to the Board on the more information on our website in the Spring 2008 curriculum and mission. next steps to be taken. issue of Sketch. pG5

oCad REady or group in the short term; a crisis, discussion of simulated emergency WITH EmERGENCy which would have a major impact scenarios, educational role-playing pREpaREdNESS plaN on the university; and a disaster, simulations were also held at the How does a rapidly expanding which would involve far-reaching University of Toronto, Ryerson university deal effectively with consequences beyond campus, such University and the University of emergency situations? How should as a flu pandemic. With its systematic Western Ontario. In these exercises, it train staff and students to approach to resolving different specific emergency situations were respond quickly to emergencies? categories of emergencies, the Plan presented to the participants who How can it communicate crucial ensures that appropriate personnel then attempted to resolve them. This information to the broader community are apprised of the situation. process not only helps individuals to in such situations? The EPP also highlights the implement procedures more efficiently The answers to these questions accessibility of the red emergency but also allows them to identify — are of paramount importance at phones throughout campus, including and put into place — the materials OCAD, and especially so for the the newest one, in Butterfield Park, and systems required to resolve such following personnel: Peter Caldwell, courtesy of Women’s Campus Safety emergency scenarios. Vice-President, Administration; Vicki Initiatives. “If people see any kind of OCAD has also been involved in a Brown, Director, Campus Services & problem, they should immediately “town hall meeting” organized by the Security; and Peter Lashko, Director, pick up one of the red phones,” says Toronto Police Service to educate the Facilities Planning & Management. Caldwell, “or they can dial 511 from broader community about emergency Caldwell, Brown and Lashko have any OCAD courtesy or office phone.” response. taken a leadership role in creating a This will alert security personnel, Currently, OCAD is assessing risks framework for decision making by who all have first aid training. They at departmental levels, working to developing the OCAD Emergency can then contact the appropriate install a public address system on Preparedness Plan (EPP). emergency response teams and campus and developing an extensive “When situations arise, we need direct them to the site. communications strategy and more to be able to classify them first, then Another crucial component of educational programs. determine how to deal with them the Plan is educating emergency most effectively,” says Brown. The response personnel and the broader EPP offers three definitions of an OCAD community. Besides informal emergency situation: an incident, “tabletop exercises” on campus which would affect an individual involving key personnel and the aNN HamIlToN This past September, OCAD that they require the assistance of choir, of listeners — moved slowly, Our experience was enormously welcomed to its Nomadic Residents many volunteers or sometimes even finding our way through the night, affected by the situations we occu- program acclaimed American artist the expertise of engineers. lost, then found through a form of pied, ranging from the dense and Ann Hamilton. Hamilton’s public Two spectacular events punctuated acting in concert, travelling through frenetic to an almost quiet exterior lecture on September 26, 2007, Hamilton’s residency: the filled-to- the event together, responding to landscape whose sounds were more was delivered as part of Nomadic the-gills public lecture and a newly each place, each other, a constella- those of human footsteps and low Residents and Material Witness, conceived collaboration with OCAD tion of listening changed by the sites conversation than amplified event. a lecture and workshop series students. The latter coincided with in which we found ourselves. We ended up losing people, one presented in association with the Scotiabank Nuit Blanche and involved Interestingly, it seemed as much by one falling off or peeling away Textile Museum of Canada. Her visit an initial group, or “listening choir,” of about staying together — sensing to be with friends. Then in one was made possible through the about 20 students, which had evolved what our process needed — as more fateful ‘misturn,’ half the group went generous support of Partners in Art. over the course of Hamilton’s stay formally pausing and more con- one way around 1:30 a.m., the other Hamilton’s work with textile media through collaborative experimentation sciously listening. We found it made half another… explores connections between visual in different locations around OCAD. more sense for us to gather or stand art forms, language and human pres- Nuit Blanche gave Hamilton and her in the interstitial spaces — the night’s it seems the beginning of something ence. Her work comprises install ations, listening choir an excellent venue for many, many, many events and large — photography, video, architecture and interaction, inspiring the following dense throngs and crowds — of the and the ongoing formation performance. The installations them- reflective words from the artist: larger organism or sensing membrane of a selves are often of such magnitude “Our own little group — a band, or we hoped to become. question.”

abovE bEloW aNN HamIlToN KaRIm RaSHId aNd lISTENING kant stool, casamania, 2006. injection molded PP. ExpERTS CHoIR Photo courtesy of karim rashid studio Photos By marina demPster boTTom oN CampuS KaRIm RaSHId kaB chair, frighetto, 2001. white, aBs, metal Base. Photo courtesy of karim rashid studio

KaRIm RaSHId impulse — a twist on the familiar From November 10, 2007, to January that encourages an adventurous 20, 2008, the OCAD Professional imagining of the yet-to-come — runs Gallery presents From 15 Minutes into throughout his practice and underpins the Future, an exhibition of works by the decision to invite him for the internationally renowned designer and Professional Gallery’s inaugural former OCAD faculty member Karim design exhibition. Since Rashid has Rashid. A standing-room-only public built on his time teaching at OCAD lecture last November launched the during the early 1990s to become one exhibition, speaking (and none too of today’s most influential designers, quietly) to the designer’s rock-star-like it made sense for us to mark his status in the Toronto community. accomplishment with his first solo Rashid, who is involved in 85 exhibition in Canada for nearly two projects in 35 countries, is, not decades. Beyond that, his straddling surprisingly, considered one of the of professions (designer, architect, most significant cultural shapers brand consultant, contributing at work in the world today. He is a editor) and his playful questioning leading figure in the fields of product, of preconceptions dovetails with the interior design, fashion, furniture, Professional Gallery’s goal to engage lighting and art, and is known for his with contemporary art and design as uncanny ability to visually describe a way of unsettling expectations of our contemporary culture. what a gallery can be.” In the exhibition’s publication and brochure, Professional Gallery Curator Rashid’s talk was held as part of the Charles Reeve writes about Rashid’s Faculty of Design Speaker Series, and work, OCAD’s invitation and the made possible through the generous Gallery’s inaugural design exhibition. support of M.C. McCain. “The wit of the Ego vase is unusually prickly for Rashid, but its basic Shelley Adler, Paul Beliveau, David Blackwood, Ed Burtynsky, Cathy Daley, Peter Hoffer, Thrush Holmes, James Lahey, Nathalie Maranda, Charles Pachter, Jacques Payette and John Scott. THE WHoduNIT? Thanks to BMO Financial Group mySTERy aRT SalE for generously presenting Whodunit? What the calls “The for the sixth consecutive year. Thank $75 Question” had more than 3,000 you too to Gala Preview sponsors people guessing during the sixth Aeroplan and to media sponsors annual Whodunit? Mystery Art Sale. Newstalk 1010 CFRB, 97.3 EZ Rock, On Saturday, November 24, 2007, , ONESTOP that $75 question raised a record Network and NOW Magazine. A $300,000 in support of the student gracious nod also to our event sup- experience at OCAD. This staggering porters: à la Carte, Annan & Sons, achievement is just one of the many Chair-man Mills, Colourgenics, that marked this year’s Whodunit? Hillebrand Artist Series, McNabb Ltd. and Lorella Zanetti. And many The famous and the not-yet- Roick, Roma Moulding, Soapbox thanks to the dedicated Whodunit? famous let their support be known, Design Communications, Steam Committee, led this year by Anu donating more than 1,000 pieces of Whistle, Unisource and Wyborowa Bhalla, and to Soapbox Design mystery art that were finally released Exquisite Wódka. Communications, who provided the for sale on November 24. The first Among the many other part- brilliant creative and who won an person in line reportedly waited 24 ners we’d like to acknowledge are Applied Arts Complete Campaign hours to purchase pieces by Peter Aboveground Art Supplies, Akau Award for their work with us in 2006. Hoffer, Cathy Daley and Ted Harrison. Framing & Art, Burry Sign Studio Finally, thank you to our Live The 2007 gala event featured a Inc., Galerie de Bellefeuille, Gilder Auction artists and to the countless spectacular live auction hosted by Picture Framing, EPSON, Grassroots mystery artists and designers who Jian Ghomeshi from CBC’s Q. On Advertising, HP, Nicholas Metivier generously contributed their work. the block were 12 pieces of celeb- Gallery, University of Toronto Press, Without you all, this event would not rity art — large-scale works by Westbury National Show Systems have been possible.

abovE bEloW, lEfT bEloW, RIGHT WHoduNIT? 2007. vISIToRS CElEbRaTE NuIT blaNCHE aT oCad. dEmolITIoN of Photos By Photo By marina demPster RIRKRIT TIRavaNIJa’S EvENTS sandler/tjePkma muCH-dISCuSSEd pG7 bEloW, CENTRE bRICK Wall. bRENda GoldSTEIN aNd Photo By oN CampuS alISSa fIRTH-EaGlaNd, 2007 marina demPster multimedia installation. Photo By marina demPster

SCoTIabaNK NuIT blaNCHE A noisy unveiling set the tone for OCAD also welcomed back its aT oCad the evening and played out before an Material Art & Design, Applied Art & An estimated 800,000 people turned impressive crowd, which had gath- Design and Material Arts alumni for a out this year to enjoy Scotiabank Nuit ered to watch the demolition of Rirkrit weekend of programming that includ- Blanche, Toronto’s second annual Tiravnaija’s much-discussed brick ed an exhibition of works by alumni all-night, citywide contemporary art wall. The wall had been hiding the and faculty in the Great Hall, curated exhibition, and the OCAD community ingredients of a party — bubbly and by Professor William Hodge, Faculty was thrilled to be a part of it. OCAD glasses among them — and thus Nuit of Design. as a destination had multiple offer- Blanche became the occasion for a Finally, OCAD’s Student Gallery ings; it was even the site of a newly closing reception celebrating OCAD’s offered visitors the opportunity to conceived collaboration between inaugural Nomadic Resident, as well view an exchange exhibit between acclaimed artist and OCAD Nomadic as a much-anticipated reopening of ceramic students from OCAD and Resident Ann Hamilton and a the Gallery itself. the University of Regina, while special group of OCAD students Central to Nuit Blanche at OCAD Transit Space presented an exhi- (see opposite page). was an exhibition of new media bition of works by third- and fourth- works curated by Liberal Studies year Material Art & Design students. Professor David McIntosh. TESTBED converted Level 6 of the Sharp Centre for Design into an interac- tive platform for artistic research, experimentation, prototyping and testing of real-time simulation mod- els. TESTBED was comprised of six installations of new works com- missioned specifically for the event. Artists included Judith Doyle, Robert Houle, Lorena Salomé, Simone Jones and Julian Oliver, Brenda Goldstein and Alissa Firth-Eagland, and Noam Gonick. THE CHaNGING faCE of CuRaTING: CRITICISm & CuRaToRIal pRaCTICE aT oCad by Leanna McLennan

Top oSCaR dE laS floRES into the world..., 2007. ink on PaPer

abovE KaTHaRINE mulHERIN Press images Photo By kris knight

“The curating of contemporary art CRCP, the first undergraduate criti- Rosemary Donegan, Associate CRCp GRaduaTES: encompasses a dynamic array of art cism and curatorial program in North Professor at OCAD and the Chair of SuCCESSful GallERy and design practice, such as artists’ America and the fastest growing pro- CRCP since 2003, has developed oWNERS books, traditional media, new media, gram at OCAD, is unique because it the program’s field study component. A highly esteemed CRCP graduate, design, performance, archives and allows students to focus on contem- Students gain invaluable experience Katherine Mulherin has been high- ephemera,” says Dot Tuer, Professor porary art and design practice and, at through placements in commercial lighting Canadian artists in the inter- at the Ontario College of Art & the same time, acquire the historical and public galleries, museums, artist- national scene, exhibiting their work Design and acting Chair of Criticism breadth of a liberal studies education. run centres, magazine publishing in numerous cities, including Toronto, & Curatorial Practice (CRCP). “This The program’s interdisciplinary nature houses, conservation departments Los Angeles, New York, London and represents a shift in the role of curator offers them the opportunity to work and art education departments. Miami. At her recent preview of the from custodian to animator.” with more than 30 faculty with wide- These placements — in such presti- ink drawings of artist Oscar de las The shifting role of the curator rais- ranging expertise in contemporary art. gious organizations as the AGO, Flores in Basel, Switzerland, she sold es interesting questions about what it In the Faculty of Liberal Studies, 10 A Space, V Tape, YYZ Artists’ Outlet almost every piece. means to be an artist, critic or curator art historians teach contemporary art and The Walrus magazine — provide “Mounting exhibitions and in the context of contemporary art from diverse perspectives, while the students with training in applied curating projects is my medium,” discourses and practices. Students Faculty of Art has an incredible cohort curating and important connections says Mulherin, who also enjoys in OCAD’s CRCP program have of artist-practitioners with curatorial in the art world. the business side of owning the unique opportunity to engage in and critical experience. “CRCP gives students the intel- a gallery. contemporary art discourse while “The program owes its strength lectual and practical skills necessary Through her OCAD placement developing a rigorous studio practice. to the fact that it’s organic,” notes to work in a number of fields,” says at Olga Korper, Mulherin became Tuer. “It comes out of a shift in tradi- Donegan. “This is why you see OCAD familiar with the intricacies of run- tional art-making practices, which students going on to successful ning a commercial gallery, while her you can link back to the 1960s, when careers as gallery owners, conserva- placement at Mercer Union gave her artists became artist-writers and tionists, critics and artists.” artist-curators who were interested in thinking about art in terms of a broader discourse.” abovE Top NICHolaS dI GENova KRIS KNIGHT examPle of an amPhiBian/ the lone wolf, 2007. mammal hyBrid, 2007. oil on canvas, 30" x 36" pG9 Photo By wil kucey abovE KElly palmER untitled, 2006. oil on canvas, 30" x 40" insight into the daily workings of an about all aspects of the world through Through his OCAD placement at the CuRaTING aNd NETWoRKING artist-run centre. art,” says Mulherin. Edward Day Gallery, Kucey learned aT oCad aNd bEyoNd Upon graduating in 1998, Mulherin Wil Kucey, the owner of LE Gallery, how a gallery functions on a daily basis “A strength of the program is the opened BUSgallery, a project-based also got his start in CRCP. Initially and developed connections to clients, proximity to artists, being in gallery in a Queen Street West store- admitted to OCAD with a scholarship the press and established artists. an environment where people are front where she lived and worked. in painting, Kucey registered in CRCP “Rosemary Donegan is great at practicing and being part of that One of her gallery’s exhibitions, the because it allowed him to maintain a connecting you with people in the city dialogue, being able to work towards schoolBUS project, featured the work studio practice while engaging with who are doing projects in your area of putting on exhibits at OCAD,” of OCAD sculpture and installation critical theory. In 2003, while in his interest,” says Kucey. “The program says Ian Carr-Harris, Professor students. In 1999, Mulherin ran sev- third year of studies, he opened LE was great for developing connections at OCAD and 2007 winner of the eral galleries, which she consolidated Gallery as a rental space available to in the Toronto network. Governor General’s Award in Visual in 2003 into the commercial gallery OCAD students. He charged a fee “Nicholas de Genova, my top and Media Arts. Katherine Mulherin. to hang the show, sit the gallery and artist, was picked up in New York by CRCP students recently had the Mulherin’s unpretentious charm, promote the exhibits. He later con- a gallery in Chelsea just a couple of opportunity to work in an alternative keen eye, business sense and criti- verted LE to a commercial gallery. months after showing in my gallery. curatorial capacity. With the help of cal insights are evident when she is “There was a niche that needed to His work has now been purchased by Associate Professor Vid Ingelevics, discussing her gallery and the art- be filled,” Kucey recalls. “OCAD the Whitney Museum of American Art, who teaches in the CRCP program, ists she represents. In each of her students were being told, ‘You’re major collections across Europe, the they produced an intriguing show, shows, she brings into conversation going to go on to a great career,’ Museum of Contemporary Canadian “No Longer Extant,” featuring art that diverse artists and mediums — con- but the chances of getting into the Art and almost every major collection has been lost, stolen or destroyed. temporary painting, photography, galleries were very slim.” in Canada. A lot of high-calibre work “The students and I started talking technology-based work, installation comes out of Toronto and especially about how interesting it might be and sculpture. She credits her suc- out of OCAD.” to trace some of those images and cess to knowledge and contacts that Kucey is right. In NOW weekly capture them,” says Ingelevics, she acquired as a student at OCAD magazine’s “Best of Toronto” issue “like a museum of the missing.” and to artists such as Clint Griffin, published this past November, Kucey Jason Dunda and Eliza Griffiths, who was named “best young curator” for brought other talented artists to her his ability to show “an uncanny knack gallery. “Working with artists has [for] ferreting out a diverse range of helped me to become more insightful the best young up-and-coming artists in the Toronto area.” GRaduaTE STudIES

In September 2008, the Ontario College of Art & Design is launching a Master of Fine Arts program in Criticism & Curatorial Practice. Combining history, theory and criticism with professional practice, it will explore the breadth and depth of contemporary art and design. Faculty will include practicing curators.

While the majority of curatorial and museum studies programs in Canada are streams within an art history program leading to a Master of Arts degree, OCAD’s new program focusses on the professional practices of curating and criticism in com- bination with theory and history leading to the Master of Fine Arts degree. In partnership with the , OCAD’s graduate students will participate in an annual Collaborative Group Exhibition at the AGO. The program will also expand on practice-based placements established by the undergraduate program, and include a range of opportunities to work nationally as well as internationally. INvEST “ Curating is becoming an extension of art and design practice,” says Kathryn Shailer, Dean of Liberal Studies. “OCAD graduates will help define the field.”

abovE lE GallERy installation shot of craig Porter exhiBition “galaPagos,” june 2007. Photo By wil kucey IGaTIvE

The students gathered images, “The Archives of Ontario is eager relationship between sports and the --- which were available in a very to work with our students who have arts, was recently shown at “Open Leanna McLennan is a Maritime-born writer degraded form, from the Internet, art the right set of skills,” says Ingelevics, Engagement: Art After Aesthetic and academic. Her work has been published in The Antigonish Review, Broken Pencil, museums, the FBI and other sites “skills that may give them field study Distance,” an innovative art project Fiddlehead, Taddle Creek and Third Floor where art crimes had been reported. possibilities or, even potentially, hosted by the University of Regina. Lounge: An Anthology from the Banff Centre These images were then projected future employment.” As well, now that OCAD has for the Arts Writing Studio, 2004. from inside the OCAD building and CRCP graduates have also suc- received degree-granting status, onto the walls of the AGO next door. cessfully secured positions in arts its graduates have been entering Ingelevics is currently working to organizations and galleries. Among art history graduate studies develop the connection between them is Kathryn Bondy, who works departments with full funding and INTEll OCAD and the Archives of Ontario, as a marketing and development scholarships. Martin Otárola, who so that both benefit from inter- assistant with Kaeja d’Dance, a dance had received recognition through disciplinary and inter-institutional and film company. As a student, annual juried scholarship competi- possibilities. He is curating two proj- Bondy curated “Unibrow: Connecting tions at OCAD, was accepted into ects for the Archives — “In the Public the Democratization of Taste” as part the Art History Master’s program at Interest,” two nights of screenings of her thesis and participated in York University on a full scholarship. of government films with film/video myOCAD Retrospectives, which He also secured a position as gradu- exhibition group Pleasure Dome; featured art filtered through member ate assistant for Philip Monk at the and “Assignment to Archives,” which voting and student curators, and Art Gallery of York University. examines the difficulties that arise was shown at Xspace. CRCP also equips students with from the lack of data accompanying Maiko Tanaka, who was an OCAD the necessary skills and professional government photographs as they Medal winner as well as the Birks contacts to engage in the art world. come into the Archives. A satellite Medal & Award winner in 2006, works “Being a curator is not some sort of IGENCE: version of the second exhibition was as the programming and exhibitions mystery; it is a practice,” says Carr- on display in OCAD’s lobby this fall. coordinator at the Gendai Gallery Harris. “CRCP provides a platform in the Japanese Canadian Cultural that will enable students to go forward Centre and as the curatorial assis- into graduate studies and professional tant at the J. M. Barnicke Gallery practice as artists and curators.” at the University of Toronto’s Hart House. Tanaka’s “Three Cheers,” a performance piece exploring the Students in Greg Van Alstyne’s second-year studio choose an “element,” such as paper, electricity, water, news, hydrogen, carbon, sugar or ethanol, and then are asked to record and express their every connection with that element within a 72-hour period. In this 2006 work, Ji Yoon Ahn has imagined the consequences if, for every paper item in her bag, she instead had to bear the raw wood — an allusion to methods such as Ecological Footprint or Life Cycle Analysis. INvEST IGaTIvE INTEll

IGENCE:THINK TaNKS pRolIfERaTE aT oCad >>> INvESTIGaTIvE INTEllIGENCE: THINK TaNKS pRolIfERaTE aT oCad

INvESTIGaTIvE INTEllIGENCE: THINK TaNKS pRolIfERaTE aT oCad by Larissa Kostoff

“ Sustaining a product, Think Tank’s holistic three-year pro- Bloemink is cautionary, claiming curriculum review, declares “Design gram, a relatively new offering from the works have little relation to what and Humanity” as the philosophical a house, a building, a the Faculty of Design at OCAD, asks we generally think of as design. And base of all programming with the vehicle, food, packaging, students to execute projects of real it would seem she’s right. Bert Archer, following goal: a business and, well, your value to real people — even to who wrote in The Globe and Mail last “To create objects, communica- society at large. Some say the out- year about Think Tank forays into tions, environments and experiences life, is not about what come has little to do with design. animal husbandry — addressing the that nurture community, humanize good you can add to Others call it revolutionary. funky smell of a downtown abattoir technology, satisfy human needs and your collection of bads… Ninety-five percent of the world’s — and urban transportation, to name empower the individual. Design and designers develop products and ser- a few, couldn’t get over the fact that Humanity strives to achieve the maxi- Sustainability is about vices for 10 percent — the richest — OCAD’s students weren’t interested in mum quality of experience for people contribution and support. of the world’s customers. And herein building a “prettier toaster.” for each ecological unit consumed in lies the premise of Design for the Rather, what got last year’s Think its creation, production and use.” It will not work if there is Other 90%, an exhibition-cum-move- Tank students in the media was how Think Tank allows design students no collaboration among ment that posits a virtual “revolution they were able to manifest — in the from all disciplines to reflect on people to design and in design.” In her foreword to the community, with real people and real their potential, to consider how they exhibition’s accompanying publica- problems — some of the principles may become able, even responsible, develop plans, methods tion, Barbara Bloemink describes of the design process. Observation. contributors to the well-being of and models for others participating works as “design that Research. Conversation. Deliberation. the planet. In this forum, the to follow.” is not particularly attractive, often Diagnosis. Execution. potential for students as citizens limited in function, and extremely What’s driving Think Tank curri- and designers is realized through — Ghazaleh Etezal, inexpensive…[with] the inherent culum is a pretty straightforward presence and practice. Think Tank student ability to transform and, in some directive. Let us, as a group, apply Does this make it political? Maybe. cases, actually save human lives.” design thinking to as broad a Yet most Think Tank proponents, spectrum of problems as possible. both faculty and students, will tell you Where it deviates from your pretty that it has nothing to do with political toaster — where the order grows rhetoric. The clear-as-the-blue-sky tallest — is actually also where focus on sustainability, for example, is it reflects the Faculty of Design’s the end point. Or, conversely, it’s the enhanced mission, which, beginning of a designer’s engagement after its recent and substantive with contemporary issues. oppoSITE paGE abovE abovE lEfT students examine the students in keith rushton’s first-year Patrick suin “user exPerience” on the ttc. think tank class were asked to create develoPed By: a Book jacket design for think tank, abovE RIGHT pG13 victoria mcgladie along with a five-hundred word intro- louie yaBut mark dage duction that reflects their learning jaume sPinks exPeriences in the course. heather margaret mcgaw

That focus can make things tough, Students typically establish the even depressing. However, for Think shape these questions take, and oN CoNTRIbuTIoN Tank Chairs Bruce Hinds and Lewis participating faculty cross disciplines. Nicholson, the course is fundamental- It’s a tremendously varied group, and ly about empowering students. Each thus, each semester is diverse. (One “ I was planning to leave OCAD for the Environmental of the three consecutive-year levels new professor jokes about figuring Studies department at McGill because I realized that takes as its point of entry a particular he’d rely heavily on a nonexistent environmental design leads essentially to architecture — aspect of the design process, and course outline.) to the design of buildings and spaces — and I wanted each has an attendant question. Only But there is structure and there are to contribute something beyond that. Now I’ve decided the first is mandatory, or a require- assignments. For example, it’s com- to stay and a lot of that is due to Think Tank. I’ve ment for OCAD design students. mon in Think Tank 1 for a 24-hour consumption diary to set the tone. become a bit of a guinea pig for the Strategic Plan. Think Tank 1: One class investigates sustainable I will be a hybrid — I’m going to take classes at U of T Awareness — Who am I? practices at universities across the and the classes I take here at OCAD will cross planet and then turns the focus back disciplines, dissolve boundaries. Think Tank kicks you Think Tank 2: on OCAD. Another divvies up the city out of your comfort zone. It’s an awakening.” Consideration — Where am I? into segments that span a 20-minute- walk proximity to OCAD and gives — Robin Ann McFaul Think Tank 3: students each a square to assess and Action — What can I do about it? think about changing. This, it turns out, is key — that we Robin Ann McFaul is a second-year Environmental Design student who Think Tank professor Keith keep thinking about changing. It’s the has just completed Think Tank 1 with Prof. Ian Gray. Rushton brings it back to the idea critical “but” when things get depress- of designers doing research: “I think ing and it’s when another professor of Think Tank as an incubator, a quotes Pulitzer Prize–winning fiction generator. I’d like to see our students author Michael Cunningham: work with an advisor whose role is “But history is always changed by a to develop insight, to get them to small band of very determined people.” ask the right questions.” INvESTIGaTIvE INTEllIGENCE: THINK TaNKS pRolIfERaTE aT oCad Think Tank 2006-2007 Group Project

Depletism / Depletist: Devising new and appropriate language to help identify, define and target anti-environmental individuals, bodies and actions.

Students: Nathaniel Archer, Christopher Braden, Jonathan Chetner, Jan Drewniak, Michael Gagne, Michelle Glass, Cara Jackson, Monica Hunter, Ken Murphy, Andreea Omat, Nicole Ostonal, Mark Poon, Philip Rae, Pamela Ramirez, Nathan Robertson, Aisha Sheikh, Jeffrey Tappenden, Beau Turner, Andrea Wang. Facilitator: Lewis Nicholson.

abovE RIGHT Bruce hinds’ second-year think tank, working on a consumPtion Project last oN CHaNGE year. students collected garBage from around the school and analyzed it as recyclaBle or not. “ If you go back three generations, the world you left

when you died was more or less the one you entered when you were born. Two generations ago, that started to change, Now, much of what you learn when you arrive at university isn’t all that relevant by the time you oN RESpoNSIbIlITy leave. For the first time, it’s clear that the last 20 years can’t even begin to foreshadow the next. What we’re “ Think Tank will redefine the college in terms of changing seeing instead is an exponential curve, an arc. the way designers look at the world, in terms of design ethics and responsibility. There’s a misconception about My students, on average, are in their early 20s. Their aesthetic, that it’s everything. Today’s designers have lives have mirrored this curve — they’ve been learning to be ethically sound, which means they have to be and changing rapidly ever since they were born. This responsible. Which is sustainable.” makes it difficult for them to see the trajectory of global change. To them, the world can almost seem static. — Keith Rushton Right about the time they arrive at OCAD, however, the tumultuous change, the kind that comes with growing Keith Rushton is Chair of Graphic Design at OCAD. He’s also up, begins to taper. This allows them to see the a celebrated educator and the 2007 recipient of the Leadership in quality of change in the world — and to see it suddenly, Faculty Teaching award, sponsored by the Ministry of Training, even profoundly. I’d like to help them consider what Colleges and Universities. it is they’re seeing.”

— Matt Gorbet

Matt Gorbet is an interdisciplinary technologist, researcher, artist and educator specializing in physically interactive technology experiences. Gorbet believes that teaching Think Tank has changed his life. WARD 19: THE CITY LAB

In response to a class assignment with “intervention” as its theme, members of last year’s Think Tank 3 chose south Toronto’s Ward 19 as their area of investigation. The class came forward with design solutions that addressed and, as Deputy Mayor Joe Pantalone later said, “nailed” six of the major issues in the ward.

Among the Think Tank group’s recommendations were the following:

• Adopt a new system of iconography, which would compress the information in street signs directed at motorists. The system would curtail the original “additive” approach that has resulted in the glut of often-unread signage.

• Adopt a different way to move livestock in order to reduce the unpleasant smell from a downtown abattoir. This proposal, which received high praise, combined work in public polling, the science of scent, transportation and animal husbandry.

Bruce hinds’ second-year think tank students meet on the roof of oN CommuNITy the sharP centre to discover why ocad doesn’t have a green roof pG15 “ In the mid-90s, the Carnegie Foundation for the Advancement of Teaching hired a team of sociolo- gists to analyze how architecture was taught in the U.S. This team surveyed the profession, interviewed professors and students, and then released a report [“Building Community: A New Future for Architecture oN SuSTaINabIlITy Education and Practice”] that changed architecture edu- cation across the planet. Researchers found that what “ Fundamentally, we want students to become conscious students were doing in school and how they learned of their responsibility and to take that responsibility design had no connection with real people, real prob- seriously in terms of the best use of resources on the lems and real programs. The report itself became a kind planet. You really can’t design without understanding for of recipe on how to fix architecture schools. Following what or whom you’re designing. It’s a snapshot; it’s not its release was the introduction of design/build studios. everything. It’s really about raising awareness. So, instead of doing little paper projects after fourth year, students would find someone in the community, There’s been an enormous increase in conversations and with them they’d solve a problem, build something. about sustainability. Major political bodies are coming Often they’d be working with low-income groups, peo- forward to say we’re facing environmental catastrophe. ple who wouldn’t otherwise have access to an architect But they’re also talking about the next 20 years, the tipping point we won’t recover from unless we do Think Tank operates the same way, except within the things now.” framework of a design school. The idea is that the rem- edy of design, the study of it, its pedagogy, is abstract. — Lewis Nicholson There are no people. And we’re supposed to be designing for people.” Lewis Nicholson, Co-Chair of the Think Tank program at OCAD, has more than 20 years of experience as a graphic designer. Born and — Eric Nay raised in London, England, he moved to Toronto in 1993 and has since been designing exclusively for culture-based clients. More recently, Architect and educator Eric Nay is currently Assistant Dean in the Nicholson has also stepped out as an artist. Faculty of Liberal Studies. His primary research interests are in global architecture and design as well as material and cultural sustainability. INvESTIGaTIvE INTEllIGENCE: THINK TaNKS pRolIfERaTE aT oCad

abovE think tank students created this PrototyPical PassPort for the homeless oN pluRalITy to Provide Better understanding and access to emergency services in the city of toronto “ Every classroom brings with it a sense of plurality by way of all the identities, places of origin and differences in language and political opinion. Because students are at a formative stage, the worst thing would be to preach. It’s the questioning process that allows you to oN CoNNECTIvITy discover where consensus is in the classroom. And that you can turn on its head. One minute we’re talking “ How do you move somebody through a process to about the biology of sustainability, and the next we’re awareness? We see Think Tank as an armature. talking about the communication around that or around Students bring their problems into class; they bring what businesses should or shouldn’t do, what individu- their discipline-specific enquiries. Each becomes an als should or shouldn’t do, what the government feels opportunity for maturation and growth. There are we should or shouldn’t be doing. sociocultural questions and questions relating to environmental design. How do we build cities in the Think Tank is holistic — it doesn’t wall anything off. future, for example, and how are we going to survive Does that make it messy? Sometimes. But it’s actually in these cities? How do we make things and why? All less messy because we’re talking about a pretty tight of this is material for discussion among our students, knit of interconnected things.” and because of this the course supports their design thinking and their critical thinking in almost every other — Greg Van Alstyne course they take. It’s why Think Tank is a kind of core.”

Greg Van Alstyne has 20 years of experience in art and editorial — Bruce Hinds direction, branding, logo and typeface development, interaction design and graphic design. Since 2002 he has served as Director of the Bruce Hinds is a Registered Architect and Educator and is Co-Chair of Institute without Boundaries (IwB), a School of Design program at the Think Tank program. His architectural practice has covered a wide George Brown College. range of projects, from and St. John’s, Nfld., to the Middle East and Asia. Hinds is currently working on Sustainable Community Development in the Moshi-Arusha region of Tanzania, at the base of Mount Kilimajaro. BLOORCOURT VILLAGE In this year’s Think Tank 3 (Action), taught by Prof. Bruce Hinds, students have again joined forces with the City of Toronto and, this time, also with the Business Improvement Area (BIA) of Bloorcourt Village and the Bloor Improvement Group (BIG). The goal is to revitalize the neighbourhood, or how the community experiences the neighbourhood, which has been identified commercially as being “in decay.” At the time of this writing, OCAD was at the threshold of a “storefront consultancy.” This kind of physical space, or studio — a donated and not-in-use store- front on Bloor Street — would give OCAD, the City of Toronto and the local BIA real neighbourhood pres- ence, allowing space for a studio, gallery and archive as well as a community-input and resource centre. If successful, it could become a model “franchise,” initiating urban renewal in other neighbourhoods throughout Toronto. Students may be further involved in the revitalization of this particular community through their participation in the Big on Bloor festival in summer 2008 through branding, marketing and design solutions

pG17

oN paSSIoN/CompaSSIoN oN INfluENCE

“ The idea is to do this without destroying the joy, the “ Think Tank completely changed my life. After Think appetite we bring to that world. We can’t just stop dead Tank 1, I volunteered at a nonprofit youth organization all the activities that got us to where we are. What we called TakingITGlobal. I did the posters, photographs can do is learn how to satisfy our libidos and maintain and T-shirts for the youth section of last year’s AIDS or even enhance our collectivity. We can do this while conference and it showed me what you can accomplish understanding the cumulative effects of our actions and when you apply your skills in a different way. I brought while opening our eyes to the levels of impact we’re this approach to my Mobility Exchange Partnership at actually having. That’s when we start to design better, to Ringling [College of Art & Design, in Sarasota, Fla.] and make design a better discipline.” to an internship I was awarded at SamataMason in Chicago. Now I’m bringing it to Bloorcourt Village — Greg Van Alstyne (see sidebar, above right).

I’m interested in making sense of things, trying to “ I do try and seduce my students into doing interesting discover where I fit in. As a result of Think Tank, I things. I tell them that they have the right and power to made connections, did all kinds of related reading. change the world.” I fell in love with it and then it became me.”

— Lewis Nicholson — Ghazaleh Etezal

Ghazaleh Etezal is a fourth-year Graphic Design student who is completing Think Tank 3 with Prof. Bruce Hinds. Reeves, who has a degree in marine biology from the University of , employs a scientific method in her practice to explore perception. “I want to get the viewers physiologically involved, to engage them with the work, so that they become aware of their optical experi- paINTING To ExploRE ence.” She structures her painting ExpERIENCE process by controlling selected vari- At Superplastic last October, two ables — for example, using a square OCAD graduates and their former format, working with circles and instructors shared with Drabinsky utilizing only pure chromos layers to Gallery visitors an artistic dialogue cover other colours. “I set parameters on how painting can be used as a that are nonflexible and that respond starting point to explore contem- to what develops intuitively by not porary experience. having the positioning and the colour The group exhibition featured the predetermined.” abstract paintings of Amanda Reeves For Gazley, currently completing and Jay Gazley (both Drawing & his MAA at the Emily Carr Institute of Painting, ’05) and OCAD instructors Art & Design, painting is a medium for Anda Kubis (Professor, Faculty of Art) exploring urban systems and archi- and Vladimir Spicanovic (Associate tecture. His paintings in Superplastic Dean, Faculty of Art). examine Modernist notions of uto- According to Kubis, who also pian city planning. “The works were curated the show, all four Superplastic extremely tight, very systematic and artists use the painting process “as a extremely clean because I wanted means of resolving disparate interests to take that utopia to such a plastic in biology, industrial design, architec- state that its perfection became an ture, urban planning and film within eerie distopia.” He sees a strong the tradition of painting.” connection among the Superplastic

bEloW abovE TSImSHIaN TREaSuRES: THE REmaRKablE aNda KudIS JouRNEy of THE duNdaS CollECTIoN. neBula, 2007. alumNI NoTES douglas & mcintyre oil on canvas, 36" x 36" PuBlishing grouP, 2007 Top amaNda REEvES untitled 2, 2007. acrylic on Panel, 36” x 36”

REmaRKablE JouRNEyS Donald Ellis, a renowned dealer in In addition to historical photos In early 2007, when well-known art First Nations art, was instrumental and archival material, the book also dealer Donald Ellis was looking for a in returning the Dundas collection to features reportage photographs of graphic designer for a book on one Canada. For more than two decades, the ceremonies at the opening exhibit of the most significant collections of he had tried, unsuccessfully, to of the Dundas collection last spring. First Nations art in North America, he negotiate its purchase by a Canadian Held at the Museum of Northern immediately thought of Barb Woolley institution. When it went up for pri- British Columbia in Prince Rupert, (Communication & Design, ’82). vate sale, The Globe and Mail’s art the event showcased Tsimshian A sumptuous book of 70 full- critic, Sarah Milroy, wrote an article dance performances and songs and colour plates and numerous dramatic lamenting that the Canadian govern- the blessing of the objects by First photos, Tsimshian Treasures: The ment was not showing interest in Nations leaders. Remarkable Journey of the Dundas the artifacts. Upon reading her story, Woolley, who co-founded the mul- Collection chronicles the story of members of the Thomson family con- tidisciplinary design group Hambly Native ceremonial objects acquired tacted Ellis and expressed their desire & Woolley in 1990 with her husband, in the 1800s by Scottish missionary to keep the collection together and to illustrator Bob Hambly, maintains Rev. Robert Dundas in the Northwest return it to Canada. They purchased a close relationship with her alma Coast of British Columbia. The collec- the majority of the objects, and the mater. She developed the new tion remained outside of Canada until Tsimshian people, who had hoped graphic identity for OCAD as well as 2006, when Sotheby’s auctioned it off that the collection would be returned its signage, stationery, diplomas and in New York for more than to them, were able to purchase two Sketch magazine. Hambly & Woolley US$7 million. of the objects. is an award-winning design studio In designing Tsimshian Treasures, with more than 300 citations for Woolley opted “to place the objects excellence. “in a modern context as objects of art.” Notes Woolley: “I designed the book using a minimalist aesthetic, with a lot a white space, clean lines and a sans serif font because the objects don’t need any embellishment.”

Danby’s realist landscapes and portraits of Canadian politicians, musicians and athletes have triggered lively debates about the place of his work in the history of Canadian art. Many argue that he will be remem- bered as an influential realist painter alongside Canadians Alex Colville and Mary Pratt and American Andrew Wyeth. Danby, who painted his first portrait at the age of 10, enrolled at OCA in Sad faREWEllS: KEN daNby 1958 and left in 1960 to pursue his Internationally renowned realist artist art career. His first one-man show in Ken Danby died in Algonquin Park 1964 sold out, an indication of the on September 23, 2007, while on tremendous commercial success he a canoe trip. Danby is best known was to enjoy throughout his career. for his egg tempera painting At the In 2001 Danby returned to Crease (1972), a widely reproduced OCAD as part of Ron Shuebrook’s image of a hockey goalie, which has President’s Speaker Series. At the decorated the homes of many hockey sold-out event, Danby spoke of the fans and aspiring players. significance of his time at OCAD,

abovE, lEfT bEloW KEN daNby polypHoNy aT THE at the crease, 1972. oNTaRIo CollEGE alumNI NoTES egg temPera, of aRT & dESIGN 28" x 40" Photo By andres Pang abovE, RIGHT KEN daNby courtesy of www.kendanBy.ca

SNoW RECEIvES fIRST SouNd INSTallaTIoN In order to bring attention to every- moCCa aWaRd CoNNECTS INSTITuTIoNS day sounds, Pang encourages us to Internationally renowned artist Andres Pang, who graduated from experience the profundity of everyday Michael Snow, OCAD alumnus OCAD’s Sculpture and Installation moments. “It is the ephemeral and (Design, ’52), received the Museum program in 1989, has created Poly- the chance encounter that I want to of Contemporary Canadian Art’s first phony, a sound installation linking highlight with this piece.” annual award for lifetime achieve- Toronto with Brooklyn and offering By urging us to imagine other ment. The $10,000 MOCCA award a cultural exchange between them people in another space, she brings honours professionals and organiza- through speakers and microphones a fantasy element into our experience tions for innovation in specific proj- installed in the lobbies of OCAD of real-life locations. She is currently ects or for lifetime achievement in the and the Polytechnic University in working on another sound installation, field of contemporary art. Brooklyn, where she is currently a which would link two historical land- The BMO Financial Group present- Master’s candidate. marks that were significant during the ed the award at a gala evening that Says Pang, “My intention is to War of 1812: Fort York in Toronto and highlighted Snow’s work in a setting unite the two locations to convey the Castle Clinton in Manhattan. created by Toronto designer Johnson concept of Sehnsucht — a German Chou. Each of the guests — among term suggestive of “longing” or them renowned artists, collectors, “joy” — that I feel when I am away at patrons, museum directors and Polytechnic University in Brooklyn… curators — received a limited-edition to alleviate a certain homesickness, plate designed by Snow and hand- desire and nostalgia for OCAD crafted by ceramicist Thomas Aitken, in Toronto.” and a catalogue. Since his first exhibition, in 1957, Snow has been recognized for his diverse work in painting, sculpture, film, video, music and other media. He was appointed as an Officer of the Order of Canada (1981) and received the first Governor General’s Award in Visual and Media Arts for cinema (2002). where he learned about abstraction. “It truly was [influential] because I regard everything that I do in many ways as structured through the abstract. I’m not concerned with duplicating an image or represent- hockey mask for the One-of-a-Kind ing a picture. I’m concerned with Mask Auction for “Shoot for a Cure” structure, space and design. I’m to increase awareness of spinal-cord concerned with tension…tonality… injuries in hockey and raise funds light…colour and all the elements that for spinal-cord-injury research. The I learned about through abstraction.” Ken Danby Legacy Fund has been Through his art, Danby strove established in his honour to support to communicate something about arts education and charities that are Canadian life. Yet, despite his com- important to him. mercial success, he was not always Danby was elected a member of recognized in the art world as a sig- the Royal Canadian Academy of Arts nificant Canadian painter. “I’ve been in 1975. He received the Queen’s accused of being a populist for rec- Silver Jubilee Medal and Golden ognizing what the public would enjoy Jubilee Medals. He served as a and given no credit whatsoever for member of the governing board of having perhaps tapped into the soul the Canada Council and the Board of my country and my heritage.” of Trustees of the National Gallery of Danby was passionate about arts Canada. Danby received an Honorary studies, which he viewed as central Doctorate of Fine Arts from the to a well-rounded education. He was Laurentian University in 1997. In 2001 a Champion Mentor for the DAREarts he was made a member of the Order Foundation for Children Inc., which of Ontario and the Order of Canada. encourages kids at a young age to Ken Danby will be fondly be involved in the arts. He also used remembered by his many friends his skills to support numerous chari- and colleagues. table causes. In 2000 he painted a

abovE KEN daNby lake louise, 2002. oil on canvas, pG21 50" x 75" Even We Don’t Know Whodunit.

BMO Financial Group Is Pleased To Present Whodunit? OCAD Mystery Art Sale EmERGING alumNI pRofIlE: EdITH daKovIC: SCulpTING a SECoNd SKIN by Leanna McLennan

RIGHT Sculptor Edith Dakovic’s report card In her work, Dakovic explores vari- EdITH daKovIC 4 of hearts. from her teacher in kindergarten fore- ous thresholds — inside and outside, from Bloated shadowed her career path: “Edith is organic and fabricated — as well as Paintings series. very creative with plasticine.” industrial objects and art. Reflecting silicone, Pigment, human hair and Dakovic has always made things. her artistic fascination with skin, her air over wooden As a child, she and her sisters helped sculptures are cast in silastic (silicone stretcher. set of 4 — each 39.5", her father build the houses where rubber), which very much resembles 28" x 8" (100cm x 22cm) they lived. When she took an office human skin. “Skin,” says Dakovic, “is — inflated. Photo By B. aBel. job in her 20s, she found herself the ultimate threshold between inside courtesy of P|m making three-dimensional models for and outside.” gallery, Berlin presentations. “I was always down in Mer-made Products features inflat- the basement building [those] mod- able skin-coloured sculptures of life els,” recalls Dakovic. “I realized that I jackets and air mattresses. These was drawn to that.” water-safety items are eerily life- Following her passion, she reg- like, filled with breath, yet insensate. istered in Sculpture and Installation Moles and veins appear on these abovE, Top lEfT at OCA, as OCAD was then known. safety devices together with nautical EdITH daKovIC “Without OCAD, I wouldn’t be where tattoos, which subtly bleed into the trying to stay on toP of my work from the trying to……… series, 2005. I am,” says Dakovic. “I had the simulated skin. dvd, 18 minutes/looP, hyBrid. opportunity to learn technically “These tattoos express the long- diameter 27". 4 video stills. and intellectually from practicing ing of the times,” explains Dakovic. abovE, Top RIGHT artists. I learned that you’re not “Mermaids reflect the sailors’ longing EdITH daKovIC limited by what you can do. You for women. Anchors reflect a longing life-vest, e PluriBus unum (detail), 2006. silicone, Pigment, human hair and air. can make anything.” for place.” Photo By jens ziehe. courtesy of P|m gallery, Berlin

abovE, boTTom RIGHT EdITH daKovIC some=others — 6 of 30 figures (detail) silicone, Pigment, human hair and air. Photo By geoffrey macdougall. courtesy of P|m gallery, Berlin abovE abovE EdITH daKovIC EdITH daKovIC mer-made Products, 2005-2007. trying to make my work more soPhisticated silicone, Pigment, air, human hair from the trying to……… series, 2005. pG23 and mixed media. c-Print mounted Between alu-di-Bond Photo By graham seaton. and acrylic. various sizes. courtesy of P|m gallery, toronto Photo By e. dakovic. courtesy of P|m gallery, Berlin

The daughter of a German mother Dakovic’s Hybrid — a skin- The artist’s exploration of the Dakovic currently lives and works in and a Yugoslavian father, Dakovic coloured rubber sphere 75 cm (30 impact of skin on perception began Berlin. Her work has been included herself has always been on the inches) in diameter with freckles, with two of her earlier works. For in collections in Canada, the United threshold of two places — Europe beauty marks, moles, a navel and Some=Others, she used the small States, Germany, England, France, and North America — and feels human hair — was exhibited at the mould in casting her sculptures of Spain and Brazil. Her most recent equally at home in both. She spent Museum of Contemporary Canadian people, but rendered them with dif- work, Home Is Where the Heart most of her life in Canada, but her Art in Toronto. The artist interacts with ferent clothing, hair and skin colour. Is, will be shown at Kunsthallen artwork engages with the sense of the sphere in playful, ironic ways that The series called into question Brænderigården gallery in Viborg, straddling two continents. question the nature of contempo- assumptions people make based on Denmark. A solo exhibition of Mer- Dakovic explores the sensibilities rary artistic and social engagement. the perception of race and gender. made Products opened on November involved in moving between places In Trying to Make My Work More In Testers, she created skin-tone 7, 2007, at Axe Néo-7 (80, rue in nEUclear reactions, a group show Sophisticated, Dakovic sits at a dining squares with a mirror in the centre to Hanson) in Gatineau, . at the Centro de Arte Caja de Burgos table across from the sphere, which encourage viewers to examine them- --- (CAB) in Spain, which highlights is tightly squeezed into a chair, and selves in relation to others. Leanna McLennan is a Maritime-born writer the work of bicultural artists con- attempts to make her artwork more Dakovic’s silastic sculptures are so and academic. Her work has been published in The Antigonish Review, Broken Pencil, nected to two continents. In CAB’s urbane while engaging in intellectually striking because they seem human. Fiddlehead, Taddle Creek and Third Floor website, curator Paco Barragán stimulating dinner conversation. The lifelike “skin” is rendered with Lounge: An Anthology from the Banff Centre invited artists to explore “new ways In Bloated Paintings, which fea- such impeccable detail that it invites for the Arts Writing Studio, 2004. of ‘Europeanness’ amidst a society tures tattooed skin, stretched on a you reach out and engage with the that has become more complex” and frame and inflated, Dakovic aims to art as with a person. Dakovic inspires where “the concept of ‘home’ is in make her art more human in ironic this longing to cross the threshold continuous flux.” ways. An umbilical-cord-like hose between life and art, to engage with Barragán continues: “The hybrid dangles behind each frame, inviting her art as something human. It is this objects of Canadian Edith Dakovic the viewer to consider the threshold mysterious evocative quality in her are made of silicone fragments… between the artist and her creation work that makes it so moving. tattooed with memories and experi- as well as the sometimes overblown ences that reveal migrations, loss hype of the current art market. and ‘second skin.’ ” This series, like her other works, is evocative, disturbing, thought-pro- voking and funny. SUPPORTER J.M. OPRATKO (GIFTS TO $249) THOMAS W. OUCHTERLONY ANONYMOUS PAGES BOOKS & MAGAZINES ACTON GROUP UXBRIDGE INC. JESSICA PANETTA THaNK you To ouR doNoRS DORIS ADYE-WHITE SUNG-MIN PARK ELIZABETH ALBER LIUDMILA PISANAVA Each year, hundreds of donors — individuals, ELLEN ANDERSON OLGA POLIAKOV APEX INVESTMENT MANAGEMENT EARL G. PRESTON ARTS AND LETTERS CLUB KEN PUSTAI companies, foundations and associations — ROBERT ASCAH DOUGLAS E. RICKSON FRANCES BALINSKY H G RINDRESS provide financial support contributing to student SHERRI BICK RICHARD ROBERTSON JUNE BLACKMORE RUTH RUDIN excellence. Whether it’s for scholarships or bur- SHEILA BROWN-SANCARTIER JEREMY RUDIN MARJORIE E. BULL ALFRED RUDIN CANADAHELPS SANDRA RUDIN-GOODMAN saries, equipment or facility improvements, or NORMA CECCONI WALTER D. RUSTON CENTRE CANADIEN D’ARCHITECTURE JAN SAGE library and audio visual resources, every gift to C. M. CHIBA ERIC SANGWINE GLENN CHO SUSAN SCIME MARY L. CHO ROBERTA L. SHAW OCAD makes a difference. We are very grateful ALBERT CHONG KAREN SILVERA YING-YUEH CHUANG LUCY SLEKYS to all those who have made a contribution and NANCY COLLINS T. ANN SMILEY BEVERLY CONNELL JOYCE SOUTH MARIA COSTANZO-PAOLA BRENDA M. SOUTH acknowledge the important role they have played JOHN COULL NANCY SOUTH DOREEN CROSS TONY STAPELLS in helping OCAD provide the best possible educa- SALLY M. CUMMING EUGENE STASIAK PHYLLIS I. DAVEY SUMAC PROJECT MANAGEMENT LTD. tion to Canada’s emerging artists and designers. RODNEY J. DELLA VEDOVA C. TAUB ANGELO DI PETTA MERILYN M. TENERIFE NAOMI J. DIAMOND BEREKET TESFALDET Please note that listed below are donors whose SARA DIAMOND MARIE-JOSÉE THERRIEN JUDY DIFILIPPO GORD THOMPSON gifts were received by November 30, 2007. JACK R. DIXON HUGH R. THORNTON MARILYN DUNCLIFFE KAREN TURNER ELEANOR DUNMORE SUNAO URATA AUDREY DYER ROSEANNE VELLA doNoRGWENYTH E. EGAN CYLLA VON TIEDEMANN PHOTOGRAPHY KAREN ELMER SHEILA J. WAITE-CHUAH BEATRICE ENDLER ANNE S. 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OCAD President Sara Diamond invites you to attend a thought-provoking lecture series, one that explores the impact of art and design on sustainability, aging and wellness, and contemporary ethics.

C S When Being Sustainable Is a Matter of Survival Wednesday, January 9, 2008 6:30 pm

d b A Public Dialogue on the 2007 Cape Farewell Voyage to the Arctic Wednesday, February 13, 2008 6:30 pm

d. R b Towards the Design of Electronic Cognitive Prostheses Wednesday, March 5, 2008 6:30 pm

G C Illustrative Reactivism: Responding to Current Events with a Sharp Pen Wednesday, March 19, 2008 6:30 pm

a C S . The Origins of Style: Fashion Photography G . by Edward Steichen and Richard Avedon

Ontario College of Art & Design Wednesday, April 9, 2008 100 McCaul Street, Auditorium (Room 190) 6:30 pm

f , ..