The Power Plant Contemporary Art Gallery Table of Contents

Total Page:16

File Type:pdf, Size:1020Kb

The Power Plant Contemporary Art Gallery Table of Contents Annual Report 2012- 2013 The Power Plant exhibitions Contemporary Art Gallery 1 The Power Plant Contemporary Art Gallery Table of Contents “Carved out of an old red-brick building that originally housed generating equipment ... 4 President’s Report The Power Plant has instantly 5 Director’s Report 7 Exhibitions become one of Toronto’s most 14 Publications exciting and best designed 15 Education & Public Programs 29 Events art-display spaces.” 34 Members & Supporters 36 Statement of Operations - Christopher Hume, Toronto Star, 1 May 1987 “Unquestionably, The Power Plant is a valuable addition to Toronto and to Harbourfront, of which it is a kind of genius loci.” - Adele Freedman, The Globe and Mail, 2 May 1987 Photo of the construction of The Power Plant, 1987. annual report 2012-2013 3 audiences for those exhibitions, positions Throughout its 25 year history, The the public in 1987. As a result, The Power other, forming a strong community of President’s The Power Plant well for continued success. Power Plant has enjoyed the continuous Director’s Plant is enjoying increasing numbers of dedicated art enthusiasts. Report support of Harbourfront Centre. I thank Report people through its doors, and 77% of The members of the Board of Directors William Boyle and the staff of Harbour- those who visit are first-time visitors. This special year brought many changes were very proud to be engaged in the front Centre for their dedication, which is Thanks to our supporters, the gallery is to our organization. In order to meet celebrations of our 25th anniversary year, felt in many ways. now positioned to build on this success our future challenges and find new ways which brought extraordinary exhibitions, and open its doors to ensure access to as to engage audiences, we created two new events and programs to The Power Plant 2012–2013 was a period of reflection and many people as possible. positions and welcomed Kristine Bowen, that would not have been possible renewal for the strategic leadership team the Curator of Education & Public without the financial support of key at The Power Plant, which brought several The gallery presented a year of outstand- Programs, and Seowon Bang, the corporations, individuals, private sector changes to the organization at the Board ing exhibitions that represented the best Website and Communications Assistant. supporters, and programming partners. level. We bid farewell to a number of of contemporary art production and a We thank those who left the organization For example, the support of the Hal members of our Board of Directors: diversity of art practices based in Toronto, for new opportunities: Linda Chalmers, Jackman Foundation enabled The Power Paul Butler, Michael Cooper, Ted Geatros, Canada and around the world. As such, all Tiffany Cox, Jon Davies, Edward Kanerva, Plant to open its doors to visitors without Shanitha Kachan, Ken Lum, Dr. Paul Marks, shows required significant resources, and Melanie O’Brian, Christy Thompson, charging admission fees, resulting in an and Elisa Nuyten. On behalf of the entire we were once again fortunate to garner and Ann Whittall, for all of their hard increased number of visitors all year long. Board and the staff of The Power Plant, support from private and public funders work. Know that your efforts will not be From September to November, through I would like to thank these individuals for to present these projects to Toronto forgotten. We also welcomed many new an important collaboration with the their commitment to The Power Plant, audiences, such as the 24-hour screenings staff members such as Mary-Kathleen National Gallery of Canada, and with the their vision, their time, and their generous of Christian Marclay’s The Clock. The Dunn, Ahlia Moussa, Julia Paoli, and support of President’s Council member financial support. In particular, I would exhibition program also proved to be Mark Teeple, who have picked up the Jay Smith, Laura Rapp and Carol and like to thank Shanitha Kachan, our former in touch with recent social and political reigns and pushed forward with our new Morton Rapp, The Power Plant brought Board President, who completed her term issues in our collective contemporary projects and programs. I wish to thank Christian Marclay’s The Clock to Toronto. in June 2012. Shanitha worked tirelessly lives, such as the Beat Nation: Art, Hip all staff members of The Power Plant, More than 17,000 visitors were fascinated for The Power Plant and helped shape its Hop and Aboriginal Culture exhibition who are a highly creative and dedicated by this contemporary masterpiece, vision. As well, we are very grateful to from the Vancouver Art Gallery. As a team, who I am proud to lead and work which was supported by RBC Wealth Shanitha and her husband Gerry Sheff for Photo courtesy Conseil des arts de Montréal result, both exhibitions, as well as the rest with all through the year. I would also Management and other generous donors. their very generous financial support of of our 2012-2013 programs, engaged a like to extend my deepest thanks to During the 2012-2013 year, The Power With the generous support of TD Bank, the gallery. I was so honoured and proud to celebrate record number of visitors in the fall and President of the Board of Directors Plant celebrated its 25th anniversary. The Power Plant was able to present Beat the 25th anniversary of The Power Plant winter seasons. Margaret McNee and Chief Executive This milestone caused us to look back Nation: Art, Hip Hop and Aboriginal Cul- The Power Plant welcomed Jeremy Laing with its invaluable community of support- Officer of Harbourfront Centre William on how The Power Plant has earned its ture, a thought-provoking assemblage of and David Lavin as new members of ers this year. Not only did this milestone The Power Plant celebrates a year that Boyle, as well as the members of the international reputation as Canada’s work by 23 Canadian and North American the Board and I look forward to working year provide an opportunity for reflection sustained a high level of corporate Board of Directors of The Power Plant, leading public art gallery devoted to Aboriginal artists, which was circulated by together with all directors to enable The on the gallery’s prestigious history, but it and public funding for public programs, for their ongoing leadership and contemporary art, and to look forward the Vancouver Art Gallery. Beat Nation Power Plant to achieve its primary goal also set a foundation for future growth in too. For example, CIBC returned as our unwavering support. to maintaining this leadership position in attracted diverse audiences and set the of bringing the best of contemporary many different areas of our multi-level Primary Education Sponsor and thanks to the years to come. stage for The Power Plant to participate in art to audiences in Toronto, Canada and operations. the support of BMO Financial Group, we The Power Plant is incessantly working new collaborative projects with other the world. expanded upon the Power Kids program to strengthen its position in the arts Instrumental to the future of any art organizations outside the world of art. The Power Plant began the year by by doubling its offerings and providing community at large. We strive to be a gallery is its leader. In 2012–2013, The I would like to thank all members of the announcing funding from the Hal Jackman all workshops to children free of charge. thought provoking and accessible Power Plant welcomed Gaëtane Verna Power Ball is the largest annual fundraiser Board of Directors and all staff members of Foundation to offer free admission for the We also created a new program of public gathering place for artists and for our as Director. Gaëtane brings a wealth of for the gallery and in June 2012, the party The Power Plant for everything they have entire anniversary year. This generous conversations between artists and various audiences at the same time, experience earned at other public paid tribute to the 25th anniversary with done and will do to contribute to the past contribution from the Foundation was a curators that reflected on our history and whether we host visitors on site or galleries in Canada, most recently as the the theme Quarter-Life Crisis. A sold-out and future success of The Power Plant. continuation of a long history of their expanded upon the ideas presented by online from all points on the globe. Executive Director and Chief Curator of crowd enjoyed the event, which could not support, which provided free admission the work in the gallery’s exhibitions – a This anniversary year celebrates a legacy the Musée d’art de Joliette in Landaudière, have succeeded without the dedicated Margaret C. McNee to the gallery throughout the summer program that continues today. in the presentation of contemporary art Quebec. Gaëtane is a recognized leader work of its committee and Co-Chairs: President, Board of Directors, months. In the years ahead, The Power here in Canada, and more than ever, in the Canadian visual arts community, Rui Amaral, Amanda Blakely, Ashleigh The Power Plant Plant is pleased to announce the continua- Celebrating our 25th anniversary with we are committed to building on this having participated in a number of Dempster and Michael Liebrock. tion of the ALL YEAR, ALL FREE program our Members was extra special. Members successful history by creating a gallery committees and juries of national due to the generous support of BMO are key ambassadors and patrons of that constantly strives to be an environ- importance while organizing and On behalf of The Power Plant, I thank our Financial Group.
Recommended publications
  • Borderline Research
    Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world.
    [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]
  • Difficulty in the Origins of the Canadian Avant-Garde Film
    CODES OF THE NORTH: DIFFICULTY IN THE ORIGINS OF THE CANADIAN AVANT-GARDE FILM by Stephen Broomer Master of Arts, York University, Toronto, Canada, 2008 Bachelor of Fine Arts, York University, Toronto, Canada, 2006 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program in Communication and Culture Toronto, Ontario, Canada, 2015 © Stephen Broomer, 2015 Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film Stephen Broomer Doctor of Philosophy in Communication and Culture, 2015 Ryerson University and York University Abstract This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty.
    [Show full text]
  • Post-War & Contemporary
    post-wAr & contemporAry Art Sale Wednesday, november 21, 2018 · 4 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, November 21, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Calgary 888 4th Avenue SW, Unit 609 Friday, October 19 through Saturday, October 20, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 27 through Tuesday, October 30, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, November 8 through Saturday, November 10, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, November 17 through Tuesday, November 20, 10 am to 6 pm Wednesday, November 21, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-8884 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector.
    [Show full text]
  • Highway Wherever: on Jack Chambers's 401 Towards London No.1
    MATTHEW RYAN SMITH Highway Wherever: On Jack Chambers’s 401 Towards London No.1 ≈ The story behind Jack Chambers's painting 1 01 Towards London No. 1 (1968-69) is something like this: Chambers left London, Ontario for a meeting in Toronto. As he drove over the Exit 232 overpass near Woodstock, he glanced in his rear-view mirror and was struck by what he sa w behind him. He returned later that night and the next morning with a camera to photograph the area. The result is an archive of images taken above and around a banal overpass in Southwestern Ontario, later used as source material for one of Canada's most important landscape paintings. Chambers was born in l 93 l in London, Ontario, the gritty and spra wling half way point between Detroit/Windsor and Toronto. Inthe late 1950s and 1960s, Chambers and other local artists-including John Boyle, Greg Curnoe, Murray Favro, Bev Kelly, Ron Martin, David Rabinowitch, Royden Rabinovwitch, Walter Redinger, Tony Urquhart, and Ed Zclcnak-centralizcd the city of London in their artistic and social activities. As the 60s drew to a close, art historian Barry Lord wrote in Art in America that London was fast becoming "the most important art centre in Canada and a model for artists working elsewhere" and "the site of 'Canada's first regional liberation front."' In effect, the London Regionalism movement, as it became known, dismissed the stereotype that the local was trivial, which lent serious value to the fortunate moment where the artists found themselves: together in London making art about making art in London.
    [Show full text]
  • Proquest Dissertations
    LingitX Haa Sateeyi, We Who Are Tlingit: Contemporary Tlingit Identity And The Ancestral Relationship To The Landscape Item Type Thesis Authors Martindale, Vivian F. Download date 11/10/2021 05:50:12 Link to Item http://hdl.handle.net/11122/8961 NOTE TO USERS Page(s) missing in number only; text follows. Page(s) were scanned as received. 217 This reproduction is the best copy available. UIY1I LINGITX HAA SATEEYI, WE WHO ARE TLINGIT: CONTEMPORARY TLINGIT IDENTITY AND THE ANCESTRAL RELATIONSHIP TO THE LANDSCAPE A Dissertation Present to the Faculty of the University of Alaska Fairbanks in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY By Vivian F. Martindale, M.A. Fairbanks, Alaska May 2008 UMI Number: 3337644 Copyright 2009 by Martindale, Vivian F. All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3337644 Copyright 2009 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Abstract Divergent views on the Tlingit ancestral relationship to the landscape of Southeast Alaska often leads to conflicts between Western-orientated government agencies, public entities, and the Tlingit people themselves.
    [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]
  • Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public
    Yeo, Su-Anne. 2016. Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/18872/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] 1 Transnational Screens and Asia Pacific Public Cultures: Vancouver, Toronto, and Hong Kong, 1997-2007 Su-Anne YEO Thesis submitted to Goldsmiths, University of London for the Degree of Doctor of Philosophy July 2016 2 Declaration I declare that the work presented in this thesis is my own. Name: Su-Anne Yeo Signature: __________________________________ Date: __________________________________ 3 Acknowledgements This thesis would not have been possible with the generosity of several organizations and many individuals both in the UK and overseas. First, I would like to acknowledge the contribution of the many people who agreed to participate in this study by being interviewed or by sharing archival materials. Their assistance has been invaluable. For financial support, I thank the Overseas Research Student Award (ORSAS), the University of London Central Research Fund, and the Daiwa Charitable Foundation of Hong Kong. I am forever indebted to my thesis supervisor, Chris Berry, who taught by example, read closely and critically, and never lost faith in my abilities, especially when I doubted myself.
    [Show full text]
  • ​New Connections
    N​ EW CONNECTIONS A Resource Guide to the Arts in Toronto for Newcomer Artists Ballet Folklorico Mexico by Brendan Albert TABLE OF CONTENTS About Us Neighbourhood Arts Network, Toronto Arts Foundation………………..………….3 About This Document: What to Expect………………..………………………....…..3 Local Art Service Organizations (LASO’s)……………………………………………...….5 ​ Additional Arts Organizations………………………………………………………….....…6 ​ Festivals………………………………………………………………………....………….….11 ​ Dance……………………………………………………………………..…..…………….….13 ​ Film……………………………………………………………………...……..……….………15 ​ Literary……………………………………………………..………….…...…..…………..….16 ​ Music…….…………………………………………………..………….…...…..……….……17 ​ Theatre…….……………………….………………………..………….…...…..………….....19 ​ Visual Arts…….……………………….………………………..…….…...……………….… 20 ​ Ontario Arts Organizations…………….………….…………..…….…...…..………..…...23 ​ Funding for Artists…………….………….…………..…….…...……………..……..……..25 ​ Community Spaces…………….………….…………..…….…...…………....………...… 28 ​ Art Supplies…………….………….…………..…….…...…………....………..…………...29 ​ Event Listings…………….…….….…………..…….…...…………....…………….……... 31 ​ Mentorship Opportunities….….…………..…….…...…………....………………...….... 32 ​ Legal Resources….….…………..…….…...…………....…………………………….…... 33 ​ New Connections 2 About Us Neighbourhood Arts Network is a free membership network that connects people with arts opportunities and events happening across Toronto. We support and celebrate artists that contribute to making our neighbourhoods more creative and exciting. Our membership consists of different types of artists, arts organizations
    [Show full text]
  • BRENDAN FERNANDES B
    BRENDAN FERNANDES b. 1979, Nairobi, Kenya lives and works in Chicago, IL Education 2006 – 2007 Whitney Museum oF American Art, Independent Study Program, New York, NY 2003 – 2005 The University oF Western Ontario, Master’s of Fine Arts in Visual Arts, London, ON 1998 – 2002 York University, Honors, Bachelor oF Fine Arts in Visual Arts, Toronto, ON Selected Solo Exhibitions 2021 Inaction…The Richmond Art Gallery. Richmond, BC In Pose. The Art Gallery in Ontario. Toronto, ON 2020 Art By Snapchat. Azienda SpecialePalaexpo. Rome, Italy. Brendan Fernandes: Bodily Forms, Chrysler Art Museum We Want a We, Pearlstein Gallery, Drexel University, Philadelphia, PA In Action. Tarble Art Center, Eastern Illinos University, Charleston, IL 2019 Restrain, moniquemeloche, Chicago, IL In Action, Zilkha Gallery, Wesleyan University, Middletown, CT (will travel to Tarble Arts Center, Eastern Illinois University, Charleston, IL, 2020) Contract and Release, The Noguchi Museum, Long Island City, NY Call and Response, Museum oF Contemporary Art, Chicago, IL (perFormance series) Free Fall. The Richmond Art Gallery. Richmond, BC Free Fall 49. The Smithsonian American Art Museum. Washington, DC Ballet Kink. The Guggenheim Museum. New York, NY 2018 The Living Mask, DePaul University Art Museum, Chicago, IL On Flashing Lights, Nuit Blanche, Toronto, ON (performance) Open Encounter, The High Line, New York, NY (perFormance) The Master and Form, The Graham Foundation, Chicago, IL To Find a Forest, Art Gallery oF Greater Victoria, Victoria, BC (perFormance) SaFely (Sanctuary). FOR-SITE Foundation. San Francisco, CA 2017 Art by Snapchat, Museum of Contemporary Art, Chicago, IL (performance) Move in Place, Anna Leonowens Gallery, NSCAD University, Halifax, NS Free Fall 49, The Getty, Los Angeles, CA (performance) From Hiz Hands, The Front, Eleven Twenty Projects, BuFFalo, NY I’M DOWN, 18th Street Arts Center, Santa Monica, CA Clean Labor, curated by Eric Shiner, Armory Fair, New York, NY (performance) Lost Bodies.
    [Show full text]
  • The Ontario Curriculum, Grades 11 and 12: the Arts, 2010
    2010 REVISED The Ontario Curriculum Grades 11 and 12 The Arts CONTENTS INTRODUCTION 3 Secondary Schools for the Twenty-First Century . 3 The Importance of the Arts Curriculum . 3 Ideas Underlying the Arts Curriculum . 5 Roles and Responsibilities in the Arts Program . 5 Attitudes in the Arts . 7 THE PROGRAM IN THE ARTS 9 Overview of the Program . 9 Curriculum Expectations . 13 Strands in the Arts Curriculum . 15 The Creative Process . 15 The Critical Analysis Process . 17 ASSESSMENT AND EVALUATION OF STUDENT ACHIEVEMENT 23 Basic Considerations . 23 The Achievement Chart for the Arts: Grades 9–12 . 26 Information on the Achievement Chart . 28 SOME CONSIDERATIONS FOR PROGRAM PLANNING IN THE ARTS 31 Instructional Approaches . 31 Planning Arts Programs for Students With Special Education Needs . 32 Program Considerations for English Language Learners . 34 Environmental Education and the Arts . 37 Healthy Relationships and the Arts . 38 Equity and Inclusive Education in the Arts Program . 38 Multiple Literacies in the Arts . 40 Literacy, Mathematical Literacy, and Inquiry/Research Skills . 41 Critical Thinking and Critical Literacy in the Arts . 42 The Role of the School Library in the Arts Program . 43 The Role of Information and Communications Technology in the Arts Program . 44 The Ontario Skills Passport and Essential Skills . 45 Career Education . 45 Une publication équivalente est disponible en français sous le titre suivant : Le curriculum de l’Ontario, 11e et 12e année – Éducation artistique, 2010 This publication is available on the Ministry of Education’s website, at http://www.edu.gov.on.ca. Cooperative Education and Other Forms of Experiential Learning . 45 Planning Program Pathways and Programs Leading to a Specialist High Skills Major .
    [Show full text]
  • Acrylic Paint and Montreal Hard-Edge Painting Jessica Veevers a Thesis in the De
    The Intersection of Materiality and Mattering: Acrylic Paint and Montreal Hard-Edge Painting Jessica Veevers A Thesis In the Department Of Art History Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Art History) at Concordia University Montreal, Quebec, Canada January 2020 ©Jessica Veevers, 2020 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Jessica Veevers Entitled: The Intersection of Materiality and Mattering: Acrylic Paint and Montreal Hard-Edge Painting and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Haidee Wasson External Examiner Dr. Mark Cheetham External to Program Dr. Mark Sussman Examiner Dr. Steven Stowell Examiner Dr. Edith-Anne Pageot Thesis Supervisor Dr. Anne Whitelaw Approved by Dr. Kristina Huneault, Graduate Program Director January 10, 2020 Dr. Rebecca Taylor Duclos, Dean Faculty of Fine Arts iii ABSTRACT The Intersection of Materiality and Mattering: Acrylic Paint and Montreal’s Hard-Edge Painting Jessica Veevers, Ph.D. Concordia University, 2020 Set in Montreal with the advent of Hard-Edge painting and the invention of acrylic paint, this thesis takes a critical look at the relationship between materiality and mattering. The Hard-Edge painters, Guido Molinari, Claude Tousignant and Yves Gaucher undertook a new medium to express their new way of seeing and encountering the world and they did so in a way that was unique from other contemporaneous abstract painters.
    [Show full text]