A View on Collaboration from Library and Archives Canada

Total Page:16

File Type:pdf, Size:1020Kb

A View on Collaboration from Library and Archives Canada COLLABORATION A View on Collaboration from Library and Archives Canada Guy Berthiaume he view from the reading rooms at 395 Wellington St., in hand in their own communities. While LAC’s presence online Ottawa, communicates a great deal about the nature of is often the focal point for our research support, it is the latter Library and Archives Canada (LAC). First and foremost, approach — where LAC contributes to exhibition initiatives Twe are reminded that this is a site that has always been invested at museums, galleries and other memory institutions across in the goals of cultural exchange and continuity. Our closest Canada — that ensures LAC is visible to the public and the neighbour on the Ottawa River is the active First Nations site value of our collections and services is increasingly known. on Victoria Island, which has served for centuries as a hub of Currently, our loans specialists are preparing for the year ahead knowledge, custom and commerce. The Canadian Museum during which LAC will deliver published heritage for display of History, itself designed to invoke the region’s cultural and in Montreal, watercolour paintings in Lethbridge, First World environmental heritage, can be seen on the river’s north shore, War material in Halifax, historical photographs in Quebec City, opposite the iconic profiles of the National Gallery of Canada, and more. LAC holds Canada’s most extensive collection of the Library of Parliament and the Peace Tower, all to the east of published and archival documentary heritage relating to the LAC; while to the west we overlook the Canadian War Museum. development of Canadian democracy, culture and society. I feel it is essential to our mandate that we continue to exhibit these This panorama serves as a daily reminder of how fortunate materials publically in communities across Canada. LAC is, in terms of its location in the capital, as well as its tremendous national mandate and the opportunities to In the National Capital Region, our situation within a diverse collaborate with peer institutions, both those in the immediate community of memory institutions means there is no shortage vicinity and throughout Canada. This is a site that encourages of opportunities to collaborate on exhibition projects. Apart us to look to the horizons and engage with the public on all from the familiar national institutions, Ottawa also boasts a available fronts. thriving network of galleries and museums at the municipal level. For example, over the fall of 2014 and into January In my role as librarian and archivist of Canada, I am particularly 2015, LAC was a major lender for a retrospective exhibition interested in ensuring that the way we deliver our mandate on the work of Canadian artist Alma Duncan at the Ottawa is visible to the public. LAC must dedicate itself to serving all Art Gallery. The collaboration involved a total of 105 items potential clients, from the specialized researchers who actively including sculptures, paintings, works on paper and textual seek out our collections, to the general public who are provided documents. This is also an ideal collaborative scenario in which with opportunities to encounter these historical materials first- the exhibition subsequently travels beyond Ottawa to other 42 muse l may/june 2015 Western Treaty No. 1 – Treaty No. 1 Between Her Majesty the Queen The Royal Proclamation, 1763. Photo: Library and Archives Canada/ and the Chippewas and the Crees of the Province of Manitoba Department of Justice fonds/e010778430 and the Country Adjacent – IT 255. Photo: Library and Archives Canada/ Department of Indian Affairs and Northern Development fonds/ e004156536 LAC is also contributing to major initiatives led by the Canadian Museum of History. Over 50 items from LAC’s holdings will be featured in a range of exhibitions leading up to 2017. As well as original art, maps and textual material on display in those temporary exhibitions, LAC will have a significant presence in the museum’s renewed Canada Hall. parts of the province, with installations planned for the Varley daguerreotypes. Our collaboration with the National Gallery has Art Gallery in Markham, the Art Gallery of Sarnia and the Art also included our role in a major exhibition on the First World Gallery of Windsor. War entitled The Great War: The Persuasive Power of Photography which was mounted at the Gallery in the summer and fall of At the federal level, I am very proud of LAC’s support for our 2014. LAC’s contributions included reproductions made from neighbouring institutions, in particular as we collectively orient original glass plate negatives, some of which are the only ones our projects toward the celebration of the 150th anniversary of now in existence, created by official war photographers of the Confederation in 2017. At the National Gallery of Canada, LAC Canadian Expeditionary Force. has established a three-year partnership to produce a series of six exhibitions exploring 19th-century photography in Canada. LAC is also contributing to major initiatives led by the In the context of this partnership, LAC is not only contributing Canadian Museum of History. Over 50 items from LAC’s historical materials, but is also providing curatorial expertise. holdings will be featured in a range of exhibitions leading Exhibition themes and content include: early exploration in up to 2017. As well as original art, maps and textual material Canada; the work of photographer Paul-Émile Miot; images of on display in those temporary exhibitions, LAC will have a the Arctic; photographic panoramas; travel photography; and significant presence in the museum’s renewed Canada Hall. mai/juin 2015 l muse 43 Both images are taken from The Hockey Hall of Fame exhibition. Experts from the two institutions have examined over 400 items from LAC’s collection with a view for featuring reproductions of art, photographs and textual documents, together with long- term loans of original documentary heritage. This collaboration will provide the public with a wonderful opportunity to encounter LAC’s treasures directly at one of Canada’s most popular and dynamic memory institutions. I should emphasize that it is not always the scale of the collaboration that expresses its significance to partner organizations and the general public. Even the loan of a single item can embody a wealth of shared experience and the fundamental values at the heart of institutions dedicated to acquiring, preserving and providing access to Canada’s cultural memory. In this case, I have in mind LAC’s collaboration with the Canadian War Museum, where we have arranged for the display of a copy of “In Flanders Fields” handwritten by John McCrae’s — an artefact that has provided generation after generation with a focal point for reflection, commemoration and historical insight. LAC has loaned other treasured collection materials in support of 17, 1982 on Parliament Hill, by Her Majesty Queen Elizabeth direct public access across the country. At the Canadian Museum II and Prime Minister Pierre Trudeau. This document formally of Immigration in Halifax, LAC will have several items enacted Canada’s newly patriated constitution and enshrined featured in a new permanent exhibition exploring immigration to the guarantees contained in the Canadian Charter of Rights and Canada, from first contact to present day. LAC is also supporting Freedoms. The display of this fundamental record of Canada’s the new Canadian Museum for Human Rights by loaning a social and political development at the Canadian Museum for number of high-profile documents, including: a copy of the Human Rights represents the first time the Proclamation has been Canadian Bill of Rights signed by John Diefenbaker in 1960; on extended public exhibition outside of Ottawa. several examples of Chinese Head Tax Certificates; the 1763 Royal Proclamation by King George III in which the Crown recognizes LAC also will have a year-long presence at the Hockey Hall of Aboriginal rights; and, the first of a series of historic numbered Fame, where we are collaborating on an exhibition that will Treaties, signed in 1871 by eminent representatives of Chippewa highlight the impact the First World War had on hockey players and Cree First Nations. One of the most significant documents and how it transformed organized hockey leagues during and in LAC’s collection will also be on display at the Museum: after the War. Our contribution includes approximately 50 the Proclamation of the Constitution Act, 1982, signed on April reproductions of historical photographs, maps and posters, as 44 muse l may/june 2015 Canadian Bill of Rights signed by John Diefenbaker in 1960. Photo: Library and Archives Canada/House of Commons fonds/e010692345 well as a loan of original documents from the military service who accompanied Franklin on his first overland expedition records of Hall of Famers Conn Smythe, Frank McGee and Frank (1819–1822) and who produced a remarkable record of his own Fredrickson. Beyond these collection materials, LAC is lending expeditions to the Arctic region from 1818 until 1837. several iPads and kiosks which will help contextualize the First World War records of over 25 inductees to the Hockey Hall of I am hopeful that this is just the first of many interesting Fame. exhibitions to be presented at our Wellington Street site. The Library and Archives of Canada Act specifically encourages The range of these collaborative projects is emblematic of “exhibitions, publications and performances, to make known LAC’s function as Canada’s national library and archives. and interpret [Canada’s] documentary heritage.” Memory Just as we are physically located in the midst of an array of institutions are fundamentally connected through this active memory institutions in Ottawa, the diversity of LAC’s holdings orientation toward the public, as well as through the thematic can serve as a central source of support for libraries, archives, and historical intersections amongst our collections.
Recommended publications
  • 200210 IND 150+Ottawa Press Release Feb
    FOR IMMEDIATE RELEASE CELEBRATING INUIT STORYTELLING WITH OTTAWA PREMIERE OF ONE OF CANADA’S TOP 10 FILMS OF 2019 ‘ONE DAY IN THE LIFE OF NOAH PIUGATTUK’ Actor Apayata KotiEr, who plays tHE rolE of NoaH Piugattuk bEing confrontEd by actor Kim Bodnia, playing tHE rolE of Isumataq (Boss). PHoto courtEsy Isuma Distribution. ‘A TOP 10 FILM OF 2019’ - TIFF Monday FEbruary 10th, 2019 -- Coming to Ottawa for it’s Ottawa Public PrEmiErE is OnE Day in tHE LifE of NoaH Piugattuk, the latest film by award-winning, master filmmaker and Order of Canada recipient, Dr. ZacHarias Kunuk. Attending and speaking after the event will be Isuma team member and the film’s assistant director, Lucy Tulugarjuk, and Tessa Kunuk who debuts in the film in the role of Nattuk. The film tells a story of Igloolik elder NoaH Piugattuk who was born in 1900 and passed away in 1996. Noah’s life story is that of Canada’s Inuit in the 20th century – and the film allows the audience to feel and experience for themselves how the movement of Inuit to settlements affected a family, as well as the independence of Inuit people as a nation. Joining the conversation will be Inuit EldEr David SErkoak, educator and speaker on Inuit culture, and former Principal of Nunavut Arctic College. Leading and moderating the discussion will be BernadEttE Dean, Inuit culture and history expert. In the film we meet Noah Piugattuk’s nomadic Inuit band who live and hunt by dogteam, just as his ancestors did when he was born in 1900.
    [Show full text]
  • Artistic Movement Membership and the Career Profiles of Canadian Painters
    DOCUMENT DE TRAVAIL / WORKING PAPER No. 2021-05 Artistic Movement Membership And The Career Profiles Of Canadian Painters Douglas J. Hodgson Juin 2021 Artistic Movement Membership And The Career Profiles Of Canadian Painters Douglas Hodgson, Université du Québec à Montréal Document de travail No. 2021-05 Juin 2021 Département des Sciences Économiques Université du Québec à Montréal Case postale 8888, Succ. Centre-Ville Montréal, (Québec), H3C 3P8, Canada Courriel : [email protected] Site web : http://economie.esg.uqam.ca Les documents de travail contiennent des travaux souvent préliminaires et/ou partiels. Ils sont publiés pour encourager et stimuler les discussions. Toute référence à ces documents devrait tenir compte de leur caractère provisoire. Les opinions exprimées dans les documents de travail sont celles de leurs auteurs et elles ne reflètent pas nécessairement celles du Département des sciences économiques ou de l'ESG. De courts extraits de texte peuvent être cités et reproduits sans permission explicite des auteurs à condition de faire référence au document de travail de manière appropriée. Artistic movement membership and the career profiles of Canadian painters Douglas J. Hodgson* Université du Québec à Montréal Sociologists, psychologists and economists have studied many aspects of the effects on human creativity, especially that of artists, of the social setting in which creative activity takes place. In the last hundred and fifty years or so, the field of advanced creation in visual art has been heavily characterized by the existence of artistic movements, small groupings of artists having aesthetic or programmatic similarities and using the group to further their collective programme, and, one would suppose, their individual careers and creative trajectories.
    [Show full text]
  • 1961-62 Year Book Canadian Motion Picture Industry
    e&xri-i METRO-GOLDWYN-MAYERtl WITH THESE CURRENT AMD CANADIAN OPENING! TORO NTO—October 2t UNIVERSITY THEATRE MONTREAL—November 2 ALOUETTE THEATRE Metro-Golduyn-Mayer present. VANCOUVER-Dec. 21 Samuel Bronston's Proaua STANLEY THEATRE IRAMA TECHNICOLOR JEFFREY HUNTER'■ SIOBHAN McKENNA • HURD HATFIELD-RON RANDELL • VIVECA LINDFORS-RITA GAM • CARMEN SEVILLA • BRIGID BAZLEN HARRY GUARDINO • RIP TORN • FRANK THRING • GUY ROLFE • MAURICE MARSAC • GREGOIRE ASLAN • ROBERT RYAN^n,^. Screen Play by PHILIP YORDAN * Directed by NICHOLAS RAY • Produced by SAMUEL BRONSTON METRO GOLDWYN MAYER PRESENTS METRO GOLDWYN MAYER presents a JULIAN BLAUSTEIN production <cMy\KMFY HI</\NI)C) Starring AS FLETCHER CHRISTIAN ri<i-\OR Howard GLENN FORD AS CAPTAIN BUGH INGRID THULIN CHARLES BOYER RICHARD HARRIS AS JOHN mills IN AN ARCOLA PRODUCTION LEE J. COBB PAUL HENREID co starring QMUTluvy qjvT ui'HTt BcyujViy PAUL LUKAS YVETTE MIMIEUX KARL BOEHN co-sTunim HUGH GRIFFITH RICHARD HAYDN »»»TARITA screen play by ROBERT ARDREY and JOHN GAY BASED ON THf NOVEL BVCHARLES NOROHOff AND JAMS S NORMIN HAH based on the novel by directed by omcnm.LEWIS MILESTONE PRODUCE 0 BY AARON ROSENBERG VICENTE BLASCO IBANEZ • VINCENTE MINNELLI TECHNICOLOR • FILMED IN ULTRA PANAVISION in CINEMASCOPE and METROCOLOR 19 CONTINUES ITS SUCCESS STORY COMING BOX-OFFICE ATTRACTIONS! BRIDGE TO THE SUN BACHELOR IN PARADISE CARROLL BAKER, James Shigeta, BOB HOPE, LANA TURNER, James Yagi, Emi Florence Hirsch, Janis Paige, Jim Hutton, Paula Prentiss, Nori Elizabeth Hermann. Don Porter, Virginia Grey, Agnes Moorehead. A Cite Films Production. A Ted Richmond Production. ★ In CinemaScope and Metrocolor SWEET BIRD OF YOUTH ★ PAUL NEWMAN, GERALDINE PAGE, TWO WEEKS IN ANOTHER TOWN Shirley Knight, Ed Begley, Rip Torn, KIRK DOUGLAS, Mildred Dunnock.
    [Show full text]
  • The Institutional Critique of Michèle Provost
    STATUS, POWER AND as the marketplace, collectors, and museums. With Everything must go/Liquidation totale, Provost fits into this long-standing tradition by exploring the phenomenon of the commodification of art and artist through product-making. Further, she self- reflectively situates her experience as an artist within the critique by way of a liqui- dated assemblage of her own artwork. Provost’s wryly crafted installation achieves its particular brand of institutional critique by drawing from “Canadian-content” art history, marrying this content to commercial and populist design practice, and figuring herself as a practising artist within the hypothetical (yet very real) art world of her own THE ARTIST subversive installation. What is this “art world” and where did it come from? Fraser pinpoints the late 1960s as THE INSTITUTIONAL CRITIQUE the time when an idea of a social-structure that included the museum, artist, administra- tor, art studio, art magazines, and collectors, or, as she put it, “the entire field of art as a OF MICHÈLE PROVOST social universe” developed.5 Along with this model emerged a recognition of an insider/ outsider status, highlighted by the performative work and conceptual projects by New York City artists such as Daniel Buren, Michael Asher and German artist Hans Haacke. For example, in 1970, Haacke polled visitors to the MOMA as to their political opinion of Catherine Sinclair Norman Rockefeller, who sat on the museum’s Board of Directors, thereby calling into question the activities and direction of the organization.6 In Canada of 1969, conceptual In 2006, Bristol-based street artist Banksy, famous for his anonymity and critical graf- artists Iain and Ingrid Baxter, as N.E.
    [Show full text]
  • Allan Fleming Fonds Inventory #529
    page 1 Allan Fleming fonds Inventory #529 File: Title: Date(s): Note: Call Number: 2008-002/001 Personal files (1) Correspondence. -- File consists of 12 letters dealing 1971-1974, 1988 with Allan Fleming's heart attack in 1971 (including a vivid description of the pain in a letter to Fleming's colleagues at the University of Toronto Press), family vacation arrangements in Sarasota, Florida, and two copies of the brochure, "Peter Fleming : recent furniture," 1988. (2) Creative writing. -- File consists of typescript and n.d. handwritten poetry and prose, including drafts of a short story set in Quebec City's harbour and a second story set in London, England. (3) Richard Outram and Barbara Howard : correspondence. [196-], 1971-1976 -- File consists of postcards regarding the couple's trip to England in 1971, the impact of Allan Fleming's heart attack upon them, Outram's inspection of a farm property on the Speed River near Guelph that brought back memories of the Don River near an undeveloped Leaside, his battle to give up smoking, his comments regarding an abstract painting by Howard, two typescript poems by Outram, his submission of the manuscript for "Pulse" to Jack McClelland at the suggestion of Allan Fleming in 1973, Clarke Irwin's response to "Pulse," and comments regarding work at the Canadian Broadcasting Corporation. (4) Richard Outram and Barbara Howard : Christmas and 1961-1976 Valentine's Day cards from the Gauntlet Press. -- File consists of 15 cards and broadsheets featuring poetry by Outram and engravings by Howard. (5) Richard Outram and Barbara Howard : Aliquandro 1972-1973 Press.
    [Show full text]
  • UAAC-AAUC-2019-Programme-Long
    2019 Conference of the Universities Art Room AssociationDufferin of Canada Back to schedule Congrès 2019 de l’Association d’art des universités du Canada October 25–27 octobre 2019 Hilton Quebec 1 Message du président L’intérêt grandissant que suscite le congrès de l’AAUC fait en sorte que nous devons nous adapter à la croissance tout en préservant le caractère informel qui, au fil de plusieurs décennies, s’est avéré adaptable et productif. Cette situation enviable explique que le congrès de cette année se déroule dans un centre de congrès, un format qui sera de plus en plus important à l’avenir. Je suis heureux de terminer mon mandat de président lors de cet événement remarquable et dans ce cadre magnifique. Je tiens à remercier les organisateurs Ersy Contogouris, Erin Silver et Maxime Coulombe, et je suis ravi de voir le nouveau numéro de RACAR, qu’Ersy a codirigé avec Mélanie Boucher, et qui porte sur les tableaux vivants. Je remercie également Fran Pauzé, l’administratrice de l’AAUC, pour son travail au soutien du congrès de cette année et pour m’avoir aidé à rester sur la bonne voie pendant mon mandat au CA de l’AAUC, d’abord comme trésorier, puis comme président. Les compétences financières de Fran — un modèle d’efficacité et de clarté, je le dis sou- vent — expliquent en grande partie le succès durable de l’Association. Je me sens privilégié d’avoir été au service de ma communauté professionnelle de cette manière et j’ai hâte de participer de façons différentes au cours des années à venir, en commençant par le congrès de Vancouver en 2020.
    [Show full text]
  • Canadian Content
    Canadian Content Canadian Content The McGill Undergraduate Journal of Canadian Studies Editor in Chief Madeleine Cummings Editorial Board James Gutman Elliot Holzman Andrew Korstvedt Derrick Lovell Colleen Morawetz McGill Institute for the Study of Canada 3463 Peel Street, Montreal, Quebec H3A 1W7 Published annually by the Canadian Studies Association of Under- graduate Students (CSAUS). The editors welcome undergraduate students at McGill University to submit academic and creative works related to the study of Canada in English or French; stu- dents need not be enrolled in the Canadian Studies Programme to contribute. © Canadian Studies Association of Undergraduate Students 2012 With the exception of passages quoted from external authors, no part of this book may be reproduced without written permission from the Canadian Studies Association of Undergraduate Students. We cannot guarantee that all URLs are functional. Printed in Montreal, Canada Cover photo by Yolanda Clatworthy Canadian Content is generously supported by: Contents Notes on contributors Will Straw Foreward Yolanda Clatworthy Mapping an Identity: The Re-Appropriation and Evolving Role of the 11 Canoe in Canada Matthew Chung Postcoloniality, Orientalism, and the Question of Québec 23 Yolanda Clatworthy Photo Essay: Northern Gateway 35 Niki Marion The Influences of the Pastoral Tradition and the Modern Condition in 39 Dennis Lee’s Civil Elegies Sarah Mathieu-Comtois Economic Nationalism and Canadian Monetary Policy: The Post-Bret- 47 ton Woods Decade Isabel Luce Reclaiming
    [Show full text]
  • Naomi Jackson-Groves Fonds Photographic Material (R7316) 2002-0299, 2002-0719 BAN 2003-00036-4
    Naomi Jackson-Groves Fonds Photographic Material (R7316) 2002-0299, 2002-0719 BAN 2003-00036-4 Container No. Barcode File No. Title New Location 25 2001085287 1 5 8x10 colour prints (2 duplicates) Naomi Jackson-Groves 6 4x5 colour prints (3 duplicates) paintings and work 1 4x6 snapshot 3 35 mm. colour negatives :showing J-G’s paintings and one hooked rug 2 1 6x8 b/w print, unidentified, showing and Ice Palace, pre. WWII 3 Red photo album: Trip to Finland 47 colour snapshots 2 Polaroid prints 2 postcards 3 letters 4 Portrait, Naomi Jackson-Groves 2 8x10 b/w prints (1 with developer stains) 1 2.5x5 b/w print Naomi Jackson Groves /Photography 1 5 Greenland trip, journal 67 b/w 35 mm. negatives - copy of artwork and people from this journal 25 2001085287 6 2 4x5 b/w prints of A.Y. Jackson and Naomi Jackson-Groves Naomi Jackson-Groves paintings and work 1 3x5 colour print of A.Y. Jackson and Naomi Jackson-Groves at launching of A.Y.’s Canada, Kleinburg, Ont., 1 November 1968 3 colour snapshots (duplicates) of N, J-G., at launching of A.Y.’s Canada 4 colour snapshots of N. J-G. 3 colour slides, of N. J-G at Convocation ceremony, McMaster University, 1972. 3 colour slides of work by Emily Johnson 15 b/w 35 mm. negatives of Opening of H.A.C. Jackson’s Mushrooms at National Gallery of Canada, August 1977 17 colour snapshots of book launch for 2 Jacksons Abroad, October 2000. 13 snapshots of various events for N.
    [Show full text]
  • Artistic Movement Membership and the Career Profiles of Canadian Painters
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Hodgson, Douglas J. Working Paper Artistic movement membership and the career profiles of Canadian painters Document de travail, No. 2021-05 Provided in Cooperation with: Department of Economics, School of Management Sciences (ESG UQAM), University of Quebec in Montreal Suggested Citation: Hodgson, Douglas J. (2021) : Artistic movement membership and the career profiles of Canadian painters, Document de travail, No. 2021-05, Université du Québec à Montréal, École des sciences de la gestion (ESG UQAM), Département des sciences économiques, Montréal This Version is available at: http://hdl.handle.net/10419/234822 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu DOCUMENT DE TRAVAIL / WORKING PAPER No.
    [Show full text]
  • Pixie Cram C.V. Pixie [email protected] 613-321-6402
    Pixie Cram c.v. http://artengine.ca/pixiecram pixie _ [email protected] 613-321-6402 Filmography & Screenings 2018 Pragmatopia 30 minutes, colour 4K; live action drama Mirror Mountain Film Festival (Ottawa) – July 27, 2019 SAW Video Media Art Centre (Ottawa) – November 29, 2018 Echo Park Film Centre (Los Angeles) – May 31, 2018 2017 Emergency Broadcast 7 minutes, colour digital video; stop-animation Photophobia Contemporary Moving Image Festival – Art Gallery of Hamilton, August 8, 2019 GIV, Vidéos de femmes dans le parc (Montreal) – July 29, 2019 aCinema (Milwaukee, Wisconsin, USA) – February 1, 2019 GIRAF Festival of Independent Animation (Calgary) – November 23 – 25, 2018 Les Sommets du cinéma d'animation (Montreal) – November 21 – 25, 2018 34th International Short Film Festival Interfilm Berlin – November 20 – 25, 2018 Planet in Focus Film Festival (Toronto, ON) – October 25 – 28, 2018 Ottawa International Animation Festival – September 26 – 30, 2018 Countryside Animafest Cyprus (Greece) – July 19 – 21, 2018 Currents New Media Festival (Santa Fe, NM, USA) – June 8 – 24, 2018 Filmfest Dresden International Short Film Festival – April 17 – 22, 2018 Dawson City International Short Film Festival (Yukon) – March 29 – April 1, 2018 Mirror Mountain Film Festival (Ottawa, ON) - December 5, 2017 CBC TV, Absolutely Ottawa - Broadcast September 9, 2017 + July 28, 2018 Philip Monk Video Portrait 3 minutes, colour digital video; stop-animation National Gallery of Canada, GGAVMA reception and panel discussion - March 2017 Winnipeg Art Gallery - April
    [Show full text]
  • From the National Gallery of Canada
    FROM THE NATIONAL GALLERY OF CANADA The View from Here introduces viewers to the richness and diversity of the National Gallery's Canadian collection. Designed for schools and museums as well as for the general public, the video is organized thematically, and features works by Canadian artists from the eighteenth century to the present. Leading viewers through the galleries, the video focusses playfully and imaginatively on a variety.of paintings, sculpture, prints, drawings, and photographs. A short introduction on the founding of the Gallery is followed by an exploration of nine themes animated by quotes from well-known Canadian artists, which impart a personal flavour to the "acts" of this visual survey. Early Days examines religious and secular works that reveal the impact of a colonial, European culture on eastern Canada up to Confederation. Looking at Ourselves is a kaleidoscope of faces and figures from all parts of the country over the last century ari a half. From Sea to Sea captures the wonders of our vast landscape, from Newfoundland to British Columbia, from the forty-ninth parallel to the Arctic Ocean. Diversions surveys such pastimes as parties, music-making, card playing, tobogganing, and string games. Confrontations deals with conflict, war, civil strife, and protest, and Away from Home briefly looks at works done by Canadian artists abroad. Workers celebrates the labour of Canadian men and women - on the land, on the sea, and in the factories and mines. Town and Country explores our built environments, from a solitary farmhouse to the port of Montreal. The video corodes with Visions and Mysteries, a journey through abstraction, the realm of t(p.spirit, and the allegories of magic and myth.
    [Show full text]
  • Author, Editor, Director Title City of Publication Publisher Number Volume Year Type of Publication Keywords ISBN Number Additional Notes
    Author, Editor, Director Title City of Publication Publisher Number Volume Year Type of Publication Keywords ISBN Number Additional Notes e.g. thesis, book, magazine, exhibition catalogue Abel, Tiina et al., eds. Estonian Art 1 18 2006 Magazine Estonia Abel, Tiina et al., eds. Estonian Art 1/2 22/23 2008 Magazine Estonia Abel, Tiina et al., eds. Estonian Art 2 25 2009 Magazine Estonia Abel, Tiina et al., eds. Estonian Art 1 26 2010 Magazine Estonia First Nations Artists in Canada: A Gail and Stephen A. Jarislowsky Institute Acland, Joan Reid Montreal 2001 Bibliography/Book First Nations, Canada 0-88947-380-3 Biographical/Bibliographical Guide 1960 to 1999 for Studies in Canadian Art Ardies, Heather Frances Gage Sculptor: A Retrospective 1948-1996 Cobourg, ON Art Gallery of Northumberland 1997 Exhibition Catalogue Sculpture, Ontario 0-921480-32-6 Art Gallery of Hamilton Harriet Ford Hamilton, ON Art Gallery of Hamilton 2001 Exhibition Catalogue Painting, Drawing 0-919153-68-2 Art Gallery of Nova Scotia On a Path to Learning: Early Nova Scotian Women Artists Halifax Art Gallery of Nova Scotia 2012 Exhibition Catalogue Painting, Women, Nova Scotia N/A Two Artists Time Forgot/Deux artistes oubliees par l'histoire: Art Gallery of Nova Scotia Frances Jones (Bannerman) and Margaret Campbell Halifax Art Gallery of Nova Scotia 2006 Exhibition Catalogue Painting, Nova Scotia, New Brunswick 1-55457-068-9 Macpherson Barz, Sandra B. Inuit Artists Print Workbook New York Arts and Culture of the North Publishers 1981 Catalogue Print, North, Inuit, Indigenous 0-9605898-0-5 Beaverbrook Art Gallery Canadian Folk Art from the Collection of Susan A.
    [Show full text]