Oral History Interview with William Ronald, 1963 April 18-June 2
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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. -
The Mclaughlin Daughters
Parkwood National Historic Site The McLaughlin Daughters Over the course of their lifetime together Sam and Adelaide had the pleasure and good fortune to raise five daughters. Please meet their children – Eileen, Mildred, Isabel, Hilda and Eleanor (affectionately called Billie) Eileen (born Mary Eileen) was born in 1898 and was an avid golfer, equestrian champion and dog lover. Her horse equestrian skills saw Eileen compete throughout Canada and the United States, including at the Chicago World’s Fair. Between 1924 and 1933, Eileen participated in sixty-five exhibitions and competitions. During her first marriage (1918 to 1945) Eileen and her family resided at Adelaide House, now used as the YWCA Durham, in Oshawa. During and after her second marriage, Eileen spent most of the year at her home in British Columbia, raising “Scottie dogs”. Mildred was born in 1900 and through her late teens and early twenties, Mildred attended many teas, dances, art exhibitions, theatre performances, etc. Mildred also enjoyed throwing lavish parties and performances at Parkwood. Together with her first husband, Cord Taylor they moved to the United States in the mid -1920s. Raising her family in America, Mildred returned to Parkwood for numerous visits, especially with her young children. After her second marriage, Mildred, spent her final days in Coral Gables, Florida. Parkwood National Historic Site The McLaughlin Daughters Isabel studied art at the Ontario College of Art from 1926–1930 under Group of 7 member, Arthur Lismer and Yvonne McKague Housser. With a strong love of art, she studied in Paris 1929, Vienna in 1930 and with Hans Hofmann ca. -
Les Mis, Lyrics
LES MISERABLES Herbert Kretzmer (DISC ONE) ACT ONE 1. PROLOGUE (WORK SONG) CHAIN GANG Look down, look down Don't look 'em in the eye Look down, look down You're here until you die. The sun is strong It's hot as hell below Look down, look down There's twenty years to go. I've done no wrong Sweet Jesus, hear my prayer Look down, look down Sweet Jesus doesn't care I know she'll wait I know that she'll be true Look down, look down They've all forgotten you When I get free You won't see me 'Ere for dust Look down, look down Don't look 'em in the eye. !! Les Miserables!!Page 2 How long, 0 Lord, Before you let me die? Look down, look down You'll always be a slave Look down, look down, You're standing in your grave. JAVERT Now bring me prisoner 24601 Your time is up And your parole's begun You know what that means, VALJEAN Yes, it means I'm free. JAVERT No! It means You get Your yellow ticket-of-leave You are a thief. VALJEAN I stole a loaf of bread. JAVERT You robbed a house. VALJEAN I broke a window pane. My sister's child was close to death And we were starving. !! Les Miserables!!Page 3 JAVERT You will starve again Unless you learn the meaning of the law. VALJEAN I know the meaning of those 19 years A slave of the law. JAVERT Five years for what you did The rest because you tried to run Yes, 24601. -
Songs by Title Karaoke Night with the Patman
Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P. -
These Are the Days of Our Lives
These Are the Days of Our Lives 1.1 Synopsis These Are the Days of Our Lives is a four-hour chamber larp scenario about the lives of a group of women friends. It consists of four scenes in which the characters meet up in their late teens, late 20s, late 30s and late 40s. Between these scenes are offgame interludes in which the players choose the life events that they want to have happened to their characters during the ten-year intervening period. The scenario is soundtracked by music of the period appropriate for each scene, which serves as a timekeeper as well as setting underlying mood. The gamesmaster role is primarily that of an offgame facilitator, with minimal intervention during live scenes. The scenario is preceded by a preparatory workshop, and followed by a group debrief. 1.2 Vision The design intention of These Are the Days of Our Lives is for players to explore and experience the drama of real lives. Play should be naturalistic and expressive. It will mix comic and tragic moments, light-hearted enjoyment and serious concern and grief, in the same way that life itself does. The players will be fitting thirty years’ worth of ups and downs – in their characters’ own lives, and in their interrelationships – into a few hours of play, so it will be an emotionally intense experience which may drain or elevate. They’ll be invited to become strongly bonded as a group; and they may have reflections on their own lives as a result of what they’ve experienced in play. -
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. -
Reviews & Short Features: Vol. 26/ 1 (1945)
Reviews of Books The Letters of John McLoughlin from Fort Vancouver to the Governor and Committee, second series, 1839-44 (Hudson's Bay Record So ciety, Publications, vol. 6). Edited by E. E. RICH, M.A. With an introduction by W. KAYE LAMB, Ph.D. (Published by the Cham plain Society for the Hudson's Bay Record Society, 1943. xlix, 427 p. Illustrations.) It is seldom that a book of many documents reduces itself so simply as this one to the discussion of a few topics. As the introduction reveals in clear-cut fashion, these letters show that two decisions of Sir George Simp son in 1841 and 1842 brought about a rupture in the friendship so long sustained between him and Dr. John McLoughlin. The first decision was the result of Simpson's visit to the Northwest coast on his famous earth- girdling trip, and consisted of two parts: to reduce the number of trading posts, for the establishment and prestige of which McLoughlin had been pridefuUy responsible; and, in consequence of this decrease in land estab lishments, to make the company's steamer of paramount importance on that coast, despite McLoughlin's known opposition to that course. Mc Loughlin felt that he had been humiliated by this decision of his superior officer, which reversed his own conclusions and seemed to indicate poor judgment on his part. The second decision was Simpson's hasty, opportunistic, and cold-blooded verdict as to the cause of the murder of McLoughlin's mixed-blood son, John McLoughlin, who was in charge of the Stikine post in his father's jurisdiction at the time of the tragedy. -
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. -
Johnny Hallyday 1 Johnny Hallyday
Johnny Hallyday 1 Johnny Hallyday Johnny Hallyday Johnny Hallyday au festival de Cannes 2009. Données clés Nom Jean-Philippe Smet Naissance 15 juin 1943 Paris Pays d'origine France Activité principale Chanteur Activités annexes Acteur Genre musical RockBluesBalladeRock 'n' rollVariété françaiseRhythm and bluesPopCountry Instruments Guitare Années d'activité Depuis 1960 Labels Vogue Philips-Phonogram-Mercury-Universal Warner [1] Site officiel www.johnnyhallyday.com Johnny Hallyday 2 Composition du groupe Entourage Læticia Hallyday David Hallyday Laura Smet Eddy Mitchell Sylvie Vartan Nathalie Baye Johnny Hallyday, né Jean-Philippe Smet le 15 juin 1943 à Paris, est un chanteur, compositeur et acteur français. Avec plus de cinquante ans de carrière, Johnny Hallyday est l'un des plus célèbres chanteurs francophones et l'une des personnalités les plus présentes dans le paysage médiatique français, où plus de 2100 couvertures de magazines lui ont été consacrées[2]. Si Johnny Hallyday n'est pas le premier à chanter du rock 'n' roll en France[3], il est le premier à populariser cette musique dans l'Hexagone[4],[5]. Après le rock, il lance le twist en 1961 et l'année suivante le mashed potato (en)[6] et s'il lui fut parfois reproché de céder aux modes musicales[7], il les a toutefois précédées plus souvent que suivies. Les différents courants musicaux auxquels il s'est adonné, rock 'n' roll, rhythm and blues, soul, rock psychédélique, pop puisent tous leurs origines dans le blues. Johnny est également l'interprète de nombreuses chansons de variété, de ballades, de country, mais le rock reste sa principale référence[6]. -
A Finding Aid to the Clement Greenberg Papers, 1937-1983, in the Archives of American Art
A Finding Aid to the Clement Greenberg Papers, 1937-1983, in the Archives of American Art Jayna Hanson Funding for the processing of this collection was provided by the Terra Foundation for American Art March 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Information, circa 1950s-1983.............................................. 5 Series 2: Business and Financial Records, 1948-1983........................................... 6 Series 3: Correspondence, 1937-1983................................................................... -
Artistic Movement Membership and the Career Profiles of Canadian Painters
DOCUMENT DE TRAVAIL / WORKING PAPER No. 2021-05 Artistic Movement Membership And The Career Profiles Of Canadian Painters Douglas J. Hodgson Juin 2021 Artistic Movement Membership And The Career Profiles Of Canadian Painters Douglas Hodgson, Université du Québec à Montréal Document de travail No. 2021-05 Juin 2021 Département des Sciences Économiques Université du Québec à Montréal Case postale 8888, Succ. Centre-Ville Montréal, (Québec), H3C 3P8, Canada Courriel : [email protected] Site web : http://economie.esg.uqam.ca Les documents de travail contiennent des travaux souvent préliminaires et/ou partiels. Ils sont publiés pour encourager et stimuler les discussions. Toute référence à ces documents devrait tenir compte de leur caractère provisoire. Les opinions exprimées dans les documents de travail sont celles de leurs auteurs et elles ne reflètent pas nécessairement celles du Département des sciences économiques ou de l'ESG. De courts extraits de texte peuvent être cités et reproduits sans permission explicite des auteurs à condition de faire référence au document de travail de manière appropriée. Artistic movement membership and the career profiles of Canadian painters Douglas J. Hodgson* Université du Québec à Montréal Sociologists, psychologists and economists have studied many aspects of the effects on human creativity, especially that of artists, of the social setting in which creative activity takes place. In the last hundred and fifty years or so, the field of advanced creation in visual art has been heavily characterized by the existence of artistic movements, small groupings of artists having aesthetic or programmatic similarities and using the group to further their collective programme, and, one would suppose, their individual careers and creative trajectories. -
National Arts Centre, Ottawa, Ontario
REPORT | RAPPORT NATIONAL ARTS CENTRE, OTTAWA, ONTARIO RHona Goodspeed has been an architectural >RHONA GOODSPEED historian with Parks Canada since 1990. During that time she has worked on a range of subjects, including military complexes, historic districts, cultural landscapes, ecclesiastical buildings, houses, and other building types. DESIGNATION The National Arts Centre (NAC) was desig- nated a national historic site of Canada in 2005. The reasons for its designation are the following. It is an outstanding example of a performing arts centre in Canada for its overall design, its highly successful integration into its urban set- ting, its succession of interior spaces to create dramatic effect, its unique com- bination of performing spaces and the progressive designs of each one, and its integration of contemporary works of art as part of its design. It is an outstand- ing example of a building illustrating the positive consequences of Canadian federal policy on the performing arts during the second half of the twenti- eth century, considered, in the words of Prime Minister Lester B. Pearson, as a “national institution.” It is an example of state-of-the-art performing spaces and technology at the time of construction, in particular for the aesthetic and tech- nical design of Southam Hall, which is an exceptional example of a medium-sized multipurpose auditorium representing an inspired collaboration between architect and acoustician. INTRODUCTION The National Arts Centre (NAC) is located on the east side of Confederation Square in the centre of downtown Ottawa (figs. 1-3). It occupies an irregular site on a steep slope descending from Elgin Street, a major artery on the west, to the Rideau Canal on the east.