Ontario, 2007-08

Total Page:16

File Type:pdf, Size:1020Kb

Ontario, 2007-08 Canada Council for the Arts Funding to artists and arts organizations in Ontario, 2007-08 For more information or additional copies of this document, please contact: Research Office 350 Albert Street. P.O. Box 1047 Ottawa ON Canada K1P 5V8 (613) 566-4414 / (800) 263-5588 ext. 4526 [email protected] Fax (613) 566-4428 www.canadacouncil.ca Or download a copy at: http://www.canadacouncil.ca/publications_e This publication is a companion piece to the Annual Report of the Canada Council for the Arts 2007-08. www.canadacouncil.ca/annualreports Publication aussi offerte en français Research Office – Canada Council for the Arts Table of Contents 1.0 Overview of Canada Council funding to Ontario in 2007-08 ................................................................... 1 2.0 Statistical highlights about the arts in Ontario ............................................................................................. 2 3.0 Highlights of Canada Council grants to Ontario artists and arts organizations ................................ 3 4.0 Overall arts and culture funding to Ontario by all three levels of government ................................ 8 5.0 Detailed tables of Canada Council funding to Ontario ........................................................................... 11 List of Tables Table 1: Government expenditures on culture, to Ontario, 2003-04 ............................................................. 9 Table 2: Government expenditures on culture, to all provinces and territories, 2003-04 ......................9 Table 3: Government expenditures on culture $ per capita by province and territory, 2003-04 ..... 10 Table 4: Canada Council grants to Ontario and Canada Council total grants, 1999-00 to 2007-08 ...................................................................................................................... 11 Table 5: Canada Council grants to Ontario by discipline, 2007-08 .............................................................. 12 Table 6: Grant applications to the Canada Council from Ontario and total grant applications to the Canada Council, 1999 -00 to 2007-08 ....................................................................... 13 Table 7: Ontario – various comparisons with other provinces, 2007-08 ................................................... 14 Table 8: Grant funding by community, Ontario, 2007-08 ............................................................................... 15 Table 9: Detailed list of grants to individual artists in Ontario, 2007-08 .................................................... 18 Table 10: Detailed list of grants to arts organizations in Ontario, 2007-08 ................................................. 29 Funding to artists and arts organizations 2007-08 edition Research Office – Canada Council for the Arts Ontario 1.0 Overview of Canada Council funding to Ontario in 2007-08 • In 2007-08, the Canada Council for the Arts provided grants totalling $51 million to the arts in Ontario. • In addition to grants, $2.8 million in payments was provided to 5,606 authors through the Public Lending Right program,1 as well as $1.5 million in special funds in 2007-08. This brings the total amount of Canada Council funding to Ontario to $55.2 million. • The Canada Council awarded $6.8 million in grants to 653 Ontario artists and $44.2 million to 650 Ontario arts organizations in 2007-08. • Grants were awarded to artists and arts organizations in Ontario in each artistic discipline – dance, music, theatre, visual arts, media arts, interdisciplinary and performance art and writing and publishing. In 2007-08, the largest amount of funding went to music ($12.6 million). Theatre received the second largest amount of funding ($9.6 million), followed by writing and publishing ($8.2 million). • 4,295 applications from Ontario artists and arts organizations were submitted to the Canada Council in 2007-08, representing 29.1% of the total number of applications received. • Funding to artists and arts organizations in Toronto totalled $34.6 million in 2007-08, comprising 67.8% of the total funding going to the province. Ottawa received $3.5 million in funding, representing 6.9% of total funding, and Stratford received $1.4 million in funds (2.7%). 143 additional communities in Ontario received 22.6% of the province’s funding for a total of $11.5 million. • In 2007-08, Ontario artists received 29.1% of Canada Council funding to artists, and Ontario arts organizations received 34.1% of the funding to arts organizations. In total, Ontario artists and arts organizations received 33.4% of Canada Council funding. In comparison, the province makes up 38.8% of the Canadian population2 and 40.2% of Canadian artists.3 • 209 Ontario artists and arts professionals served as peer assessors in 2007-08, making up 27.1% of all peer assessors. 90% of Ontarian assessors were Anglophone, and 10% of assessors were Francophone. 1 The Public Lending Right program provides payments to authors whose books are held in selected Canadian public libraries. 2 Statistics Canada: Canada's National Statistical Agency. “Population and Dwelling Counts, for Canada Provinces and Territories, 2006 and 2001 Censuses - 100% Data.” 13 Mar, 2007. http://www12.statcan.ca/english/census06/data/popdwell/Table.cfm?T=101 3 Hill Strategies Research Inc. “Artists in Canada’s Provinces, Territories and Metropolitan Areas, A Statistical Analysis Based on the 2001 Census.” Statistical Insights on the Arts, Oct. 2004. http://www.canadacouncil.ca/publications_e/research/art_cult_hr/hm127427770317789375.htm Funding to artists and arts organizations 2007-08 edition 1 Ontario Research Office – Canada Council for the Arts 2.0 Statistical highlights about the arts in Ontario4 • With 52,500 artists, Ontario has nearly twice as many artists as any other province. Artists represent 0.8% of the provincial labour force, equal to the national average. • Toronto has an artistic concentration (1.6%) that is double the national average of 0.8%, ranking the city fifth among large Canadian cities. Ottawa (1.0%), Waterloo (1.0%) and Kingston (0.9%) also have an artistic concentration that is above the national average, Ottawa and Waterloo are tied for tenth in Canada. • 40% of the province’s artists reside in Toronto, compared with 21% of the province’s overall labour force. In terms of the absolute number of artists, the City of Toronto has about twice as many artists (21,000) as the City of Montreal (10,100), with Vancouver (7,300) having the third-highest number of artists. • In Toronto, Niagara Falls, Peterborough and Kingston, the growth in the arts labour force between 1991 and 2001 was at least 10 times the growth in the overall local labour force. In Toronto, the growth in the arts labour force was 13 times the growth in the city’s overall labour force. • Among large Ontario cities, artists’ average earnings are highest in Toronto ($34,100, the highest level in Canada), Ajax ($31,800, the third-highest level in Canada), Pickering ($31,000, the fourth-highest level in Canada) and Ottawa ($29,700, the fifth-highest level in Canada). • Ontarians spent $10.2 billion on cultural goods and services in 2005, 41% of the Canadian total. Cultural spending represents 3.0% of total consumer spending in the province. The $10.2 billion in consumer spending on culture is over three times larger than the $3.0 billion spent on culture in Ontario by all levels of government in 2003-04. At $851 per resident, Ontarians’ per capita cultural spending is third among the provinces. • In 2005, the three most popular cultural and heritage activities in Ontario were: reading newspapers (88% of the population 15 or older); listening to music on CD’s, cassette tapes, DVD audio discs, records, etc. (83%); and watching a video (rented, purchased, VHS or DVD formats) (80%). • In 2005, 43% of Ontarians 15 or older (4.31 million residents) attended a concert or performance by professional artists of music, dance, theatre or opera (excluding cultural festivals). This is slightly higher than the Canadian rate of 41%. 4 Sources: Hill Strategies Research Inc. “Artists in Large Canadian Cities.” Statistical Insights on the Arts, Vol. 6 Nos. 1 and 2, Mar. 2006. http://www.hillstrategies.com/resources_details.php?resUID=1000160&lang=0 This report provides an analysis of artists residing in 92 large municipalities across Canada. “Large municipalities” are defined as those cities with at least 50,000 residents in 2001. Hill Strategies Research Inc. “Consumer Spending on Culture in Canada, the Provinces and 15 Metropolitan Areas in 2005.” Statistical Insights on the Arts, Vol. 6 Nos. 1 and 2, Feb. 2007. http://www.hillstrategies.com/resources_details.php?resUID=1000215&lang=0 Hill Strategies Research Inc. “Provincial Profiles of Cultural and Heritage Activities in 2005.” Statistical Insights on the Arts, Vol. 6 Nos. 1 and 2, Oct. 2007. http://www.hillstrategies.com/resources_details.php?resUID=1000237&lang=0 2 Funding to artists and arts organizations 2007-08 edition Research Office – Canada Council for the Arts Ontario 3.0 Highlights of Canada Council grants to Ontario artists and arts organizations Prizes and awards The Canada Council for the Arts administers over 70 annual prizes, fellowships and awards to Canadian artists and scholars for their contributions to the arts, humanities and sciences in Canada. In 2007-08, some of the prize winners in Ontario were: Prize / Award Winner Community Bell Canada Award in Video Art Greyson, John TORONTO Governor General's
Recommended publications
  • Finding Artwork
    Splash Page THE PLASTICIENS AND BEYOND MONTREAL 1955 - 1970 Varley Art Gallery of Markham CONTACT INFO Varley Art Gallery 216 Main St Unionville, ON L3R 2H1 905-477-9511 ext. 3263 http://www.visitthevarley.com/ ABOUT THE GALLERY The Varley Story The Group of Seven The Group of Seven is famously known to have established a distinct aesthetic to the Canadian landscape, its members are historically recognized for the impact they have made on the Canadian art movement. Frederick Varley, Tom Thomson, J.E.H MacDonald, Arthur Lismer, Frank Johnston, and Franklin Carmichael would first meet as employees at the design firm Grip Ltd in Toronto. These six men would come together during and after work discussing bold new directions for Canadian Art, they were joined by A.Y Jackson and Lawren Harris in 1913. With the support of Dr. James MacCallum, an artist and university professor, the group raised money to build the Studio Building for Canadian Art in Toronto. It was there that they would create masterpieces as they discovered the distinct light of the Canadian atmosphere and capture it in bold new ways. The production the group was interrupted as they suffered tragedy when Tom Thomson, one of the founding members died in mysterious circumstances; shortly after, some of the members left to serve in the First World War. It was not until 1920 that the Group of Seven officially formed with their first exhibition in Toronto. Once their popularity grew, the artists began to travel Canada capturing what inspired them. The group shared a like vision concerning art in Canada.
    [Show full text]
  • Franklin Carmichael's Representation of The
    TRANSCENDENTAL NATURE AND CANADIAN NATIONAL IDENTITY: FRANKLIN CARMICHAEL’S REPRESENTATION OF THE CANADIAN LANDSCAPE by NICOLE MARIE MCKOWEN Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 TRANSCENDENTAL NATURE AND CANADIAN NATIONAL IDENTITY: FRANKLIN CARMICHAEL’S REPRESENTATION OF THE CANADIAN LANDSCAPE Thesis Approved: ______________________________________________________________________________ Major Professor, Dr. Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History ______________________________________________________________________________ Dr. Frances Colpitt, Deedie Rose Chair of Art History ______________________________________________________________________________ Dr. Meredith Munson, Lecturer, Art History at University of Texas, Arlington ______________________________________________________________________________ Dr. Joseph Butler, Associate Dean for the College of Fine Arts Date ii iii Acknowledgements I would like to express my gratitude to my committee chair Dr. Mark Thistlethwaite and my committee members Dr. Frances Colpitt and Dr. Meredith Munson for their time and guidance throughout the writing of this thesis. I am also grateful to all of the faculty of the Art History Division of the School of Art at Texas Christian University, Dr. Babette Bohn, Dr. Lori Diel, and Dr. Jessica Fripp, for their support of my academic pursuits. I extend my warmest thanks to Catharine Mastin for her support of my research endeavors and gratefully recognize archivist Philip Dombowsky at the National Gallery of Canada, archivist Linda Morita and registrar Janine Butler at the McMichael Canadian Art Collection, and the archivists at the Library and Archives Canada for their enthusiastic aid throughout my research process. Finally, I am indebted to my husband and family, my champions, for their unwavering love and encouragement.
    [Show full text]
  • The Banff Centre Annual Report
    The Banff Centre Annual Report April 2007 - March 2008 The Banff Centre Annual Report Inspiring Creativity April 2007 - March 2008 Message from the Board Chair and the President Creativity and innovation will drive Alberta and Canada’s future. For 75 years, The Banff Centre has supported healthy communities and fuelled our economy by inspiring creativity and fostering innovation. Our multidisciplinary programs provoke thought, spark debate, and embrace new ideas. In doing so, they nurture tomorrow’s artists and leaders and advance our understanding of the world. The Banff Centre’s programs attract exceptional artists and thinkers, and support the creation and presentation of new performance and art works. By encouraging interdisciplinary collaboration, we foster applied research and the development of innovative processes and products within cultural industries. Our Leadership Development programming explores new methodologies, informed by artistic practice and by the Centre’s inspirational location. Our Mountain Culture programs and events celebrate our human connection to mountain landscapes and explore solutions to global environmental concerns. During 2007-08, the Centre completed the first project in our transformational Banff Centre Revitalization Project. Thanks to significant support from the Governments of Alberta and Canada, and generous donations from corporate, private, and foundation supporters, the Campaign for The Banff Centre exceeded our Phase One Goal, raising $122.2 million in support of new facilities and programming and scholarship endowments. The Banff Centre’s focus on the future in 2007-08 did not compromise our attention on the present. The Centre continued to deliver exceptional programming, consistently achieving high participant satisfaction ratings. We carefully stewarded our resources, and for the sixth consecutive year the Centre achieved a positive financial year end, enabling us to deploy our annual operating contingency funds to capital maintenance priorities.
    [Show full text]
  • The Killam Trusts Annual Report 2007
    THE KILLAM TRUSTS ANNUAL REPORT 2007 Sarah Pace, BA (Hons) Administrative Officer to the Killam Trusts 1391 Seymour Street Halifax, NS B3H 3M6 T: (902) 494-1329 F:(902) 494-6562 [email protected] Published by the Trustees of the Killam Trusts www.killamtrusts.ca THE KILLAM TRUSTS ANNUAL REPORT 2007 Sarah Pace, BA (Hons) Administrative Officer to the Killam Trusts 1391 Seymour Street Halifax, NS B3H 3M6 T: (902) 494-1329 F:(902) 494-6562 [email protected] Published by the Trustees of the Killam Trusts www.killamtrusts.ca 2007 Annual Report of The Killam Trustees 2007 Annual Report of The Killam Trustees With infinite sadness, we record that our beloved fellow Trustee, W. Robert Wyman, passed away in June. A few weeks before his death, Dr. Indira Samarasekera, President and Vice Chancellor of the University of Alberta and Dr. Mark Dale, Dean of the Faculty of Graduate Studies and Research, journeyed to Vancouver to con- fer an honourary LLD degree on Bob at his home. At the U of A Special Convocation held in Edmonton later in the year, Bob’s wife Donna and daughter Robin told us of his deep satisfaction at having received this honour from the university of his birthplace and childhood, the city of Edmonton. Please see page 17 for a more detailed tribute to this remarkable Canadian and his inestimable contribution to higher education in Canada. Moncton, New Brunswick is a medium-sized but up and coming city. Its recent growth rests on three promising features: its loca- tion at the transportation hub of the Maritime Provinces; its highly entrepreneurial citizenry; and a thriving cultural life.
    [Show full text]
  • Aboriginal Arts Research Initiative
    ABORIGINAL ARTS RESEARCH INITIATIVE REPORT ON CONSULTATIONS Presented to Claire McCaughey, Research Manager, Strategic Initiatives Division Canada Council for the Arts Prepared by France Trépanier June 2008 For more information or additional copies of this document, please contact: Research Office 350 Albert Street. P.O. Box 1047 Ottawa ON Canada K1P 5V8 (613) 566-4414 / (800) 263-5588 ext. 4526 [email protected] Fax (613) 566-4428 www.canadacouncil.ca Or download a copy at: http://www.canadacouncil.ca/publications_e Publication aussi offerte en français TABLE OF CONTENTS 1. Introduction ................................................................................... 3 2. Methodology.................................................................................. 5 3. Objectives...................................................................................... 6 4. Context........................................................................................... 8 4.1 History..................................................................................... 8 4.2 Current Context....................................................................... 9 5. Values .......................................................................................... 12 6. Themes......................................................................................... 14 6.1 Definition of Aboriginal Art and Artist..................................... 14 6.2 Traditional and Contemporary Art ........................................ 17 6.3
    [Show full text]
  • Drew Hayden Taylor, Native Canadian Playwright in His Times
    BRIDGING THE GAP: DREW HAYDEN TAYLOR, NATIVE CANADIAN PLAYWRIGHT IN HIS TIMES Dale J. Young A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2005 Committee: Dr. Ronald E. Shields, Advisor Dr. Lynda Dixon Graduate Faculty Representative Dr. Jonathan Chambers Bradford Clark © 2005 Dale Joseph Young All Rights Reserved iii ABSTRACT Dr. Ronald E. Shields, Advisor In his relatively short career, Drew Hayden Taylor has amassed a significant level of popular and critical success, becoming the most widely produced Native playwright in the world. Despite nearly twenty years of successful works for the theatre, little extended academic discussion has emerged to contextualize Taylor’s work and career. This dissertation addresses this gap by focusing on Drew Hayden Taylor as a writer whose theatrical work strives to bridge the distance between Natives and Non-Natives. Taylor does so in part by humorously demystifying the perceptions of Native people. Taylor’s approaches to humor and demystification reflect his own approaches to cultural identity and his expressions of that identity. Initially this dissertation will focus briefly upon historical elements which served to silence Native peoples while initiating and enforcing the gap of misunderstanding between Natives and non-Natives. Following this discussion, this dissertation examines significant moments which have shaped the re-emergence of the Native voice and encouraged the formation of the Contemporary Native Theatre in Canada. Finally, this dissertation will analyze Taylor’s methodology of humorous demystification of Native peoples and stories on the stage.
    [Show full text]
  • University of Toronto Artists
    2010 2010 www.art.utoronto.ca UNIVERSITY OF ARTISTS ESSAYS TORONTO Kathleen Boetto Michelle Jacques MVS Programme Rebecca Diederichs Vladimir Spicanovic Graduating Exhibition Bogdan Luca Alison Syme MEDIA (RE)VISION: HOW TO GET THERE FROM HERE The 2010 Graduating Exhibition of: Rebecca Diederichs Kathleen Boetto Bogdan Luca MEDIA (RE)VISION: UNIVERSITY OF TORONTO MVS (Masters of Visual Studies) Programme in Studio Art HOW TO GET THERE FROM HERE relevant to contemporary artists and curators Associate Curator Contemporary Art at the Art in discussing his recent work in the production Gallery of Ontario, who considers the work of of “Knossos as a memory object”. Independent Rebecca Diederichs; Vladimir Spicanovic, Dean, curator Nancy Campbell revealed her long- Faculty of Art, Ontario College of Art & Design, LISA STEELE standing involvement with artists working in who elucidates the form and the content Canada’s far North. Jean Baptiste Joly, Director of Bogdan Luca’s painting practice; and our of the Akademie Schloss Solitude in Stuttgart own Art History colleague Alison Syme who spoke about the origins of contemporary art decodes the mediaized imagery of Kathleen “So, with his word “researches” Herodotus mobilizing desire and response as easily as cool as it has developed amongst young visual Boetto’s work in video and photography. announced one of the great shifts in human appraisal and analysis. Kathleen Boetto strikes artists working at the Akademie since the mid And thanks also to Linseed Projects for their consciousness not often
    [Show full text]
  • The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
    Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos.
    [Show full text]
  • Early Twentieth-Century Artists' Paints in Toronto: Archival and Material
    Early Twentieth-Century Artists’ Paints in Toronto: Archival and Material Evidence Kate Helwig, Elizabeth Moffatt, Marie-Claude Corbeil and Dominique Duguay Journal of the Canadian Association for Conservation (J.CAC), Volume 40 © Canadian Association for Conservation, 2015 This article: © Canadian Conservation Institute, 2015. Reproduced with the permission of the Canadian Conservation Institute, Department of Canadian Heritage. J.CAC is a peer reviewed journal published annually by the Canadian Association for Conservation of Cultural Property (CAC), 207 Bank Street, Suite 419, Ottawa, ON K2P 2N2, Canada; Tel.: (613) 231-3977; Fax: (613) 231-4406; E-mail: [email protected]; Web site: http://www.cac-accr.ca. The views expressed in this publication are those of the individual authors, and are not necessarily those of the editors or of CAC. Journal de l’Association canadienne pour la conservation et la restauration (J.ACCR), Volume 40 © l’Association canadienne pour la conservation et restauration, 2015 Cet article : © l’Institut canadien de conservation, 2015. Reproduit avec la permission de l’Institut canadien de conservation, Ministère du Patrimoine canadien. Le J.ACCR est un journal révisé par des pairs qui est publié annuellement par l’Association canadienne pour la conservation et la restauration des biens culturels (ACCR), 207, rue Bank, bureau 419, Ottawa ON K2P 2N2, Canada; Téléphone : (613) 231-3977; Télécopieur : (613) 231-4406; Adresse électronique : [email protected]; Site Web : http://www.cac-accr.ca. Les opinions
    [Show full text]
  • CANADA's ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 Pm Carlson Family Stage
    2016 // 17 SEASON Northrop Presents CANADA'S ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 pm Carlson Family Stage DRACULA Dear Northrop Dance Lovers, Northrop at the University of Minnesota Presents It’s great to welcome Canada’s Royal Winnipeg Ballet back to Northrop! We presented their WONDERLAND at the Orpheum in 2011, but they last appeared on this stage in 2009 with their sensational Moulin Rouge. Northrop was a CANADA'S ROYAL very different venue then, and the dancers are delighting in the transformation of this historic space. The work that Royal Winnipeg brings us tonight boasts WINNIPEG BALLET quite a history as well. When it first came out in 1897, Bram th Stoker’s novel was popular enough, but it was the early 20 Under the distinguished Patronage of His Excellency century film versions that really caused its popularity to The Right Honourable David Johnston, C.C., C.M.M., C.O.M., C.D. skyrocket. The play DRACULA appeared in London in 1924 Governor General of Canada and had a successful three-year tour, and then the American version opened in New York City in 1927 and grossed over $2 Founders, GWENETH LLOYD & BETTY FARRALLY million in its first year (that’s in 1927 dollars, and 1927 ticket Artistic Director Emeritus, ARNOLD SPOHR, C.C., O.M. prices). Founding Director, School Professional Division, DAVID MORONI, C.M. Founding Director, School Recreational Division, JEAN MACKENZIE Christine Tschida. Photo by Tim Rummelhoff. So, what is it about this vampire tale that still evokes dread and horror, but most of all, fascination? That’s a subject Artistic Director currently being explored by our first University Honors Program-coordinated interdisciplinary, outside- ANDRÉ LEWIS the-classroom Honors Experience: Dracula in Multimedia.
    [Show full text]
  • Annual Report
    Annual Report Canada Council for the Arts 2008/09 Kevin Lockau, work in progress, sand cast glass, forged steel, granite. Photo: Martin Lipman in progress, sand cast glass, forged work Lockau, Kevin Annual Report Canada Council for the Arts 2008/09 350 Albert Street 350, rue Albert Post Offi ce Box 1047 Case postale 1047 Ottawa, Ontario K1P 5V8 Ottawa (Ontario) K1P 5V8 1-800-263-5588 or 1-800 263-5588 ou 613-566-4414 613-566-4414 Fax: 613-566-4390 Téléc. : 613-566-4390 [email protected] [email protected] www.canadacouncil.ca www.conseildesarts.ca Design: Alejandro Contreras Printed in Canada ISBN: 0-88837-200-0 The 52nd Annual Report of the Canada Council for the Arts and supplementary information on grants, services and awards are available on the Council’s website. The Canada Council for the Arts is a federal Crown corporation created by an Act of Parliament in 1957 “to foster and promote the study and enjoyment of, and the production of works in, the arts.” The Council offers a broad range of grants (6,168 in 2008-09) and services to professional Canadian artists and arts organizations in music, theatre, writing and publishing, visual arts, dance, media arts and integrated arts. It further seeks to raise public awareness of the arts through its communications, research and arts promo- tion activities. The Council also awards prizes and fellowships every year to ap- proximately 200 artists and scholars. The Canadian Commission for UNESCO and the Public Lending Right Commission operate within the Council. The Canada Council Art Bank, which has some 17,300 works of contemporary Canadian art in its collection, rents to the public and private sectors.
    [Show full text]
  • John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism
    John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism by Matthew Purvis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2020, Matthew Purvis i Abstract This dissertation concerns the relation between eroticism and nationalism in the work of a set of English Canadian artists in the mid-1960s-70s, namely John Boyle, Greg Curnoe, and Joyce Wieland. It contends that within their bodies of work there are ways of imagining nationalism and eroticism that are often formally or conceptually interrelated, either by strategy or figuration, and at times indistinguishable. This was evident in the content of their work, in the models that they established for interpreting it and present in more and less overt forms in some of the ways of imagining an English Canadian nationalism that surrounded them. The dissertation contextualizes the three artists in the terms of erotic art prevalent in the twentieth century and makes a case for them as part of a uniquely Canadian mode of decadence. Constructing my case largely from the published and unpublished writing of the three subjects and how these played against their reception, I have attempted to elaborate their artistic models and processes, as well as their understandings of eroticism and nationalism, situating them within the discourses on English Canadian nationalism and its potentially morbid prospects. Rather than treating this as a primarily cultural or socio-political issue, it is treated as both an epistemic and formal one.
    [Show full text]