DOCSLIB.ORG

History Canada Art Libraries 0.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

History of Art Libraries in Canada Histoire des bibliothèques d’art au Canada www.arliscanada.ca/hal Sponsored by / Commandité par: ESSAYS IN THE HISTORY OF ART LIBRARIANSHIP IN CANADA National Gallery of Canada Library and Archives Musée des beaux-arts du Canada Bibliothèque et Archives ESSAIS SUR L’HISTOIRE DE LA BIBLIOTHÉCONOMIE D’ART AU CANADA ARLIS/NA ESSAYS IN THE HISTORY OF ART LIBRARIANSHIP IN CANADA ESSAIS SUR L’HISTOIRE DE LA BIBLIOTHÉCONOMIE D’ART AU CANADA Table of Contents Table des matières Introduction Reflections Through the Looking Glass: Murray Waddington The Story of the Fine Arts Library at the University of British Columbia Introduction Diana Cooper, Peggy McBride Murray Waddington Traduit par Denise Loiselle A Library for Artists: The Early Years of The Banff Centre Library ARLIS/Canada: James Rout The First Ten Years Jonathan Franklin The Whyte Museum of the Canadian Rockies Bob Foley ARLIS/Canada : les dix premières années The Alberta College of Art + Design: Jonathan Franklin Luke Lindoe Library Traduit par Denise Loiselle Christine Sammon A History of the Canadian Art Libraries Section The Architecture/Fine Arts Library, Fort Garry (CARLIS) Campus, University of Manitoba Melva J. Dwyer Liv Valmestad Hidden Collections: Held in Trust: The Invisible World of English Canadian Book The National Gallery of Canada Library Illustration and Design and Archives Randall Speller Jo Nordley Beglo L’histoire du livre d’artiste au Québec Pour le compte des Canadiens : Sylvie Alix La Bibliothèque et les Archives du Musée des beaux-arts du Canada A History of the Artist's Book in Québec Jo Nordley Beglo Sylvie Alix Traduit par Denise Loiselle Translated by Mark Dobbie “So Hopefully and Imaginatively Founded”: The Vancouver Art Gallery and the Machinery The CCA Library to 1998 of Happiness Rosemary Haddad Cheryl Siegel Le Centre d’information Artexte : Qui était qui : un mandat, et un parcours, atypiques Biographies de bibliothécaires canadiens Danielle Léger et canadiennes Steven C. McNeil From Ladies’ College to Department of Fine Arts: Traduit par Denise Loiselle The History of Fine Arts Education at Mount Allison University Chronology: Ilga Leja History of Art Libraries in Canada Jo Nordley Beglo “No Closed Books, No Closed Doors. And No Closed Minds”: Contributors: A History of the Nova Scotia College of Art Essays in the History of Art Librarianship in Canada and Design (NSCAD University) Library Ilga Leja Collaborateurs : Essais sur l’histoire de la bibliothéconomie Who Was Who: d’art au Canada Biographies of Canadian Art Librarians Steven C. McNeil © 2006 ARLIS/Canada Design and Production Aubut & Nadeau, Ottawa, ON www.an-design.ca INTRODUCTION Murray Waddington It has been a privilege for the Library and Archives of the By design, the scope of these essays in the history of art National Gallery of Canada to provide support for the librarianship in Canada is broad and inclusive. The authors development of this website, thereby helping to ensure that are dedicated colleagues from Vancouver to Halifax. Their these stories of the history of art librarianship in Canada are essays present research on the progress of our profession, captured and shared. Resource-sharing and national outreach the materials that comprise our collections, and the develop- are key activities that support the mandate of the National ment of our libraries. In presenting the stories of distinguished Gallery, and of its Library and Archives. institutions, collections and personalities, the essays highlight significant achievements within a specifically Canadian context. The origin of the project can be traced to the 1999 ARLIS/NA I would like to recognize in particular the contribution of the conference in Vancouver, where Jo Beglo, Ilga Leja, Melva late Diana Cooper, who sadly is not able see her work come Dwyer and Daphne Dufresne presented papers in a session to completion. focussed on the history of Canada’s art libraries. At the October 1999 meeting of ARLIS/Canada, held at the National When reading the biographies prepared for the Who Was Gallery, Jo Beglo proposed the endeavour as a national Who section of this compendium, I was reminded that those project and agreed to serve as its general editor, collaborat- of us currently working in the field of art librarianship are ing with art librarians across the country. An editorial group members of what are but the second and third generations meeting was held at the National Gallery in June 2000, of the profession in Canada. It is remarkable to think that attended by Jo Beglo, Bob Foley, Rosemary Haddad, Jill our specialization came of age only in the mid-twentieth Patrick, Murray Waddington, and Kathy Zimon. The struc- century, has accomplished so much, and has consolidated ture and stylistic approach to the project were determined its identity in so short a span of time. These beginnings are at that meeting, and the initial call for papers was issued in represented here by the biographies of our late colleagues September 2000. Peter Anthony, Jacqueline Hunter, Evelyn de Rostaing McMann, Marketa Newman, Sybille Pantazzi, and Alan We originally had hoped to publish the essays and biographies Suddon. These individuals were our mentors, remembered found here in the Occasional Papers series of the National with respect and warmth by so many of us who knew them, Gallery Library and Archives, but the significant production worked with them, and now live with their legacies in our costs that this would have entailed prompted us to seek an respective institutions. alternative. We appreciate that the use of an Internet site for the project will have the advantage of increasing visibility and I was acquainted with each of the librarians honoured by these access to this material, as it brings together for the first time biographies, and I had the welcome opportunity of working information that has been mined from art library collections closely with Marketa Newman, Jacqueline Hunter and Alan and institutional archives across the country. This website Suddon, individuals who had remarkable and lasting effect on will allow for enrichment of the project with additional their colleagues and institutions. Each one encouraged and contributions in the future. inspired me. Each one helped to ensure that I would have the stimulating and fulfilling career that I embarked upon almost Undoubtedly there will be additions to this record over time, forty years ago, an experience that has been enriched as well as other aspects of our history are narrated, new enter- by many of the distinguished essayists represented here with prise and achievements are celebrated, and individuals are whom I have had the good fortune to be associated. honoured. The colleagues whose records of our history appear here are Murray Waddington to be thanked for their effort, and Jo Beglo, Bibliographer, Chief National Gallery, is to be saluted for her commitment to the Library, Archives and Research Fellowship Program realization of this project and for the coordination of the National Gallery of Canada initiative on behalf of ARLIS/Canada. We are indebted as well April 2006 to James Rout, Managing Librarian, Paul D. Fleck Library and Archives, The Banff Centre, for hosting the website. © 2006 ARLIS/Canada INTRODUCTION Murray Waddington Traduit par Denise Loiselle Ce fut un privilège pour la Bibliothèque et les Archives du Ce site favorisera en outre l’enrichissement du recueil par Musée des beaux-arts du Canada d’appuyer le développe- l’ajout de contributions à venir. ment de ce site web, grâce auquel tous ces textes portant Les auteurs de ces textes sur l’histoire de la bibliothéconomie sur l’histoire de la bibliothéconomie d’art au Canada ont pu d’art au Canada sont des collègues dévoués d’un peu partout être recueillis et partagés. Le partage des ressources et le au pays, de Vancouver à Halifax. Leurs textes, d’une vaste rayonnement national, rappelons-le, font partie des activités- portée, présentent la recherche effectuée sur les progrès de clés définies dans le mandat du Musée des beaux-arts et de la notre profession, sur le matériel qui compose nos collections Bibliothèque et des Archives. et sur le développement de nos bibliothèques. En présen- Ce projet a été conçu en 1999 lors du congrès annuel tant l’histoire d’institutions distinguées, de collections et de d’ARLIS/NA, à Vancouver, lorsque Jo Beglo, Ilga Leja, personnalités remarquables, ils mettent en lumière des projets Melva Dywer et Daphne Dufresne ont présenté des exposés d’importance réalisés dans un contexte proprement canadien. au cours d’une session axée sur l’histoire des bibliothèques Je voudrais attirer l’attention en particulier sur la contribution d’art au Canada. En octobre de la même année, à la réunion de la regrettée Diana Cooper. Il est malheureux qu’elle ne d’ARLIS/Canada qui a eu lieu au Musée des beaux-arts, puisse voir son travail achevé. Jo Beglo a proposé de donner à ce projet une envergure En lisant les biographies de la section Qui était qui de ce nationale et, par ailleurs, elle a consenti à servir de rédac- recueil, je me suis rappelé que ceux d’entre nous qui trice générale, en collaboration avec les bibliothécaires d’art travaillent dans le domaine de la bibliothéconomie d’art à travers le pays. La structure du projet et sa conception font partie d’une profession dont les membres actuels ne stylistique ont été déterminées lors de la réunion d’un groupe représentent que la deuxième ou troisième génération au de rédaction, tenue au Musée des beaux-arts en juin 2000, à Canada. Il est tout à fait remarquable que notre spécialisa- laquelle participaient Jo Beglo, Bob Foley, Rosemary Haddad, tion, qui n’est parvenue à maturité qu’au milieu du XXe siècle, Jill Patrick, Murray Waddington et Kathy Zimon.
Recommended publications
  • EP-Réadaptation Ou Programme Spécifique CHSGS

    EP-Réadaptation Ou Programme Spécifique CHSGS

    A - EP - RÉADAPTATION OU PROGRAMME SPÉCIFIQUE CHSGS - ANN I ANNEXE I Liste des établissements désignés aux fins de l’entente particulière relative à la rémunération de services professionnels dispensés dans certains centres de réadaptation ou dans le cadre d’un pro- gramme spécifique d’un centre de soins généraux et spécialisés. Date Région 01 : Bas-Saint-Laurent CSSS de la Matapédia : 03253 Centre hospitalier d'Amqui 1995-04-30 - services préhospitaliers cliniques CSSS de Matane : 03313 Hôpital de Matane : 1995-04-30 - services préhospitaliers cliniques CSSS de Rimouski-Neigette : 03343 Hôpital régional de Rimouski 1995-04-30 - services préhospitaliers cliniques CSSS de Rivière-du-Loup : 03403 Centre hospitalier régional du Grand-Portage 1995-04-30 - services préhospitaliers cliniques CSSS de la Mitis : 04963 CSSS de la Mitis 1995-04-30 - services préhospitaliers cliniques CSSS de Témiscouata : 03333 Hôpital de Notre-Dame-du-Lac : 1995-04-30 - services préhospitaliers cliniques CSSS de Kamouraska : 03043 Centre Notre-Dame-de-Fatima : 1995-04-30 - services préhospitaliers cliniques Région 02 : Saguenay - Lac-Saint-Jean CSSS Maria-Chapdelaine : 02503 Hôpital de Dolbeau-Mistassini 1995-04-30 - services préhospitaliers cliniques CSSS de Jonquière : 02513 Hôpital et Centre de réadaptation de Jonquière 1995-04-30 - services préhospitaliers cliniques CSSS de Chicoutimi : 02473 Hôpital de Chicoutimi - services préhospitaliers cliniques 1995-04-30 - clinique de l’adolescence 2005-02-15 - clinique régionale d’enseignement et de traitement du diabète
  • Borderline Research

    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.
  • 2018-2019 Annual Report

    2018-2019 Annual Report

    2018-2019 annuAl report THE MONTREAL MUSEUM OF FINE ARTS CITED AS MODEL EXAMPLE IN THE OECD AND ICOM’S INTERNATIONAL GUIDE “The Organisation for Economic Co-operation and Development (OECD) and the International Council of Museums (ICOM) recognized the Montreal Museum of Fine Arts’ pioneering role in their guide launched in December 2018, Culture and Local Development: Maximising the Impact. Guide for Local Governments, Communities and Museums. This remarkable validation from two major international economic and cultural institutions will enable us to disseminate our message ever farther, so as to strengthen the role of culture and expand the definition of trailblazing museums, like the MMFA, that are fostering greater inclusion and wellness.” – Nathalie Bondil The Museum is cited in 5 of the 16 international case studies in the guide: a remarkable nod to our institution’s actions that stem from a humanist, innovative and inclusive vision. Below are a few excerpts from the publication that is available online at www.oedc.org: 1. Partnering for urban regeneration 3. Partnership for education: EducArt 5. Promoting inclusiveness, health and Regarding the MMFA’s involvement in creating the digital platform, Quebec, Canada well-being: A Manifesto for a Humanist Zone Éducation-Culture in 2016, in collaboration Launched in 2017 by the MMFA, EducArt gives Fine Arts Museum with Concordia University and the Ville de Montreal: secondary school teachers across the province access “As part of the Manifesto for a Humanist Fine “The project … has its roots in a common vision [of to an interdisciplinary approach to teaching the Arts Museum written by Nathalie Bondil,1 the the three institutions] to improve Montreal’s role as educational curriculum, based on the Museum’s MMFA has put forth a strong vision of the social a city of knowledge and culture.
  • Core 1..170 Hansard

    Core 1..170 Hansard

    CANADA House of Commons Debates VOLUME 137 Ï NUMBER 182 Ï 1st SESSION Ï 37th PARLIAMENT OFFICIAL REPORT (HANSARD) Friday, May 3, 2002 Speaker: The Honourable Peter Milliken CONTENTS (Table of Contents appears at back of this issue.) All parliamentary publications are available on the ``Parliamentary Internet Parlementaire´´ at the following address: http://www.parl.gc.ca 11161 HOUSE OF COMMONS Friday, May 3, 2002 The House met at 10 a.m. We must, however, take care not to go to the opposite extreme and enact legislation with potential negative impact on the rights and freedoms of those we wish to protect, under the guise of fighting Prayers terrorism. We do not have to go far back in time to recall the late unlamented Bill C-42, so criticized for its negative effects on Ï (1010) fundamental rights and freedoms. [English] At the time, the government was busy boasting right and left of BUSINESS OF THE HOUSE what an ardent promoter of public security it was, rejecting the criticisms that were being made from this side of the House. Now The Deputy Speaker: It is my duty pursuant to Standing Order here we are again, starting off a new debate on a similar bill, 81 to inform the House that the motion to be considered Monday although a few changes have been made. during consideration of the business of supply is as follows: That, in the opinion of this House, the government should cease and desist its Why are we having this new debate? Simply because the public, sustained legislative and political attacks on the lives and livelihoods of rural Canadians and the communities where they live.
  • Aboriginal Arts Research Initiative

    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
  • Difficulty in the Origins of the Canadian Avant-Garde Film

    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.
  • 26727 Consignor Auction Catalogue Template

    26727 Consignor Auction Catalogue Template

    Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation.
  • The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash

    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.
  • CV Photo/Ciel Variable, Montreal, No

    CV Photo/Ciel Variable, Montreal, No

    A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University,
  • The Catalogue Announcing the Spanning from 1960 to the Present Work’S Sale

    The Catalogue Announcing the Spanning from 1960 to the Present Work’S Sale

    Sponsored by: ART TORONTO 2008 Toronto International Art Fair (TIAF) TIAF 2008 Advisory Committee René Blouin, Galerie René Blouin 602-1788 West Broadway Jane Corkin, Corkin Gallery Vancouver BC V6J 1Y1 Michael Gibson, Michael Gibson Gallery Tel: 604 730 2065 Grita Insam, Fax: 604 730 2049 Galerie Grita Insam Toll Free: 1 800 663 4173 Olga Korper, Olga Korper Gallery Bernd Lausberg, Lausberg Contemporary 10 Alcorn Ave, Suite 100 Begoña Malone, Galería Begoña Malone Toronto ON M4V 3A9 Tel: 416 960 4525 Nicholas Metivier, Nicholas Metivier Gallery Johann Nowak, DNA Email: [email protected] Miriam Shiell, Miriam Shiell Fine Art Website: www.tiafair.com President Christopher G. Kennedy Senior Vice-President Steven Levy Director Linel Rebenchuk Director of Marketing and Communications Victoria Miachika Production Coordinator Rachel Boguski Administration and Marketing Assistant Sarah Close Graphic Design Brady Dahmer Design Sponsorship Arts & Communications Public Relations Applause Communications Construction Manager Bob Mitchell Printing Friesens Corporation, Altona Huber Printing, North Vancouver Foreword The recognition of culture and art as an integral component in creating livable and sustainable communities is well established. They are primary vehicles for public dialogue about emotional, intellectual and aesthetic values, providing a subjective platform for human connection in our global society. An International art fair plays an important role in the building and sharing of cultural values. It creates opportunities for global connections and highlights the diverse interests of artists, collectors, dealers, museums, scholars and the public. It is with great excitement and pride that I am presenting the 9th annual Toronto International Art Fair - Art Toronto 2008. With an impressive line up of national and international galleries alongside an exciting roster of cultural partners and participants, TIAF has become an important and vital event on the Canadian cultural calendar.
  • Annual Report

    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.
  • MANGAARD C.V 2019 (6Pg)

    MANGAARD C.V 2019 (6Pg)

    ANNETTE MANGAARD Film/Video/Installation/Photography Born: Lille Værløse, Denmark. Canadian Citizen Education: MFA, Gold Medal Award, OCAD University 2017 BIO Annette Mangaard is a Danish born Canadian media artist and filmmaker who has recently completed her Masters in Interdisciplinary Art, Media and Design. Her installation work has been shown around the world including: the Armoury Gallery, Olympic Site in Sydney Australia; Pearson International Airport, Toronto; South-on Sea, Liverpool and Manchester, UK; Universidad Nacional de Río Negro, Patagonia, Argentina; and Whitefish Lake, First Nations, Ontario. Mangaard has completed more then 16 films in more than a decade as an independent filmmaker. Her feature length experimental documentary on photographer Suzy Lake and the history of feminism screened as part of the INTRODUCING SUZY LAKE exhibition October 2014 through March 2015 at the Art Gallery of Ontario. Mangaard was nominated for a Gemini for Best Director of a Documentary for her one hour documentary, GENERAL IDEA: ART, AIDS, AND THE FIN DE SIECLE about the celebrated Canadian artists collective which premiered at Hot Doc’s in Toronto then went on to garner accolades around the world. Mangaard’s one hour documentary KINNGAIT: RIDING LIGHT INTO THE WORLD, about the changing face of the Inuit artists of Cape Dorset premiered at the Art Gallery of Ontario and was invited to Australia for a special screening celebrating Canada Day with the Canadian High Commission. Mangaard’s body of work was presented as a retrospective at the Palais de Glace, Buenos Aires, Argentina in 2009 and at the PAFID, Patagonia, Argentina in 2013. In 1990 Mangaard was invited to present solo screenings of her films at the Pacific Cinematheque in Vancouver, Canada and in 1991 at the Kino Arsenal Cinematheque in Berlin, West Germany.