Résumé Les organisme, A vocation culturelle qui exerce leurs activités au depuis la Deuxième guerre mondiale ont désormais suffisamment d'ancienneté pour être soumis à une analyse historique.

La revue d'art artscanada (1943-1982), est identifiée, dans cet ouvrage, A un organisme dont les origines et l'épanouissement mettent en lumière les modalités de constitution et d'exploitation ayant régi les organismes canadiens à vocation artistique et les politiques ayant conduit A leur création, auxquelles ils demeurent par ailleurs liés. Centré sur les principes directeurs de la revue et sur la façon dont celle-ci s'est intégrée au système de soutien artistique, c:et ouvrage est en fait une histoire critique et une "herméneutique" qui aborde l'organisme en question comme un texte pouvant être lu et interprété et qui implique que le commentateur reconnait sa propre participation à la construction d'une représentation de l'organisme. En outre, cette herméneutique propose des moyens permettant aux intervenants de la communauté artistique de percevoir les organismes culturels d'aujourd'hui comme des espaces englobant l'appartenance et des codes qui confèrent une signification. Ab.tract The cultural support·or,anizatione eatabliahed in Canada since the Second World War have reached a ata,e of aaturity which makes the. now available for hietorical analyai •• The art publioation artacanada (1943-1982) ia identified, in this work, aa an inatitution whose ori,in and developaent can be viewed aa illuminatin8 the ter.a of formation and operation which have shaped national arts or,anizationa and the policies

which brouJht them into bein, and to which the y reaain related. ( Fooussin, on the framework which supported the ma,azine and the way in which the ma,azine itself conatituted a portion of the art support system, the work forme a critioal hi.tory and an "institutional heraeneutic" which treats the institution as a text which can be read and interpreted, and whioh iapliea that the commentator must aoknowled,e his own participation in the construction of a representation of the institution. Furthermore, this hermeneutic su"est. ways in which on,oin, institutions can be related to by partioipant. in art communities as spaces which encloae aeabership and oodes which ,rant meanin,. UNDERSTANDING ARTSCANADA: HISTORY, PRACTICB AND IDBA

by

•• Robert Graham Graduate Proaram in Communications McGill University, Montréal September 1988

A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the dearee of Master of Arts

(0) Robert Graham 1988 ii

Table of Contenta

Abstract Preface l Acknowled.eaenta iii Introduction 1 1 - The Organization (of Associations) 12 II - Creativity and Industry 25 III - Art and Education 35 IV - The Periodical Medium 48 V - The Support and Appropriation of Art 58 VI - Art and the Institutions of Art 72 Conclusion 84 Appendix 1 - Funding 89

Appendix II - Table of Articles 92 Bibliography 127

( iii

Preface • Acknowledle.~nta The followin. work is an interpretative atudy of an institution which in ita nearly fort y yeara of exiatenee, occupied a place in a rioh network of interoonnectin8 conoerna. As an instruaent of public oultural poliey, it was

the expression of one way"the Canadian state oould f~lrther its vision of its responsibility for oulture. As a communications study, the topio of a ma8azine is a natural one. And certainly the collected issues remain the oore data, as a reoord of the institution's primary public funotion. But, 1 found, a oommunioations study of an institution requires that aIl of its activities be understood oommunicationally as the transmission or prop08ation of oertain ideas by certain means. Thus, the narrative history of the institution is also basic - especially as the early participants are now dyin. and their me.ories of our past risk .oing unrecorded - but a.ain, it alone is unsufficient aa a communications aocount. What 1 have attempted is a readin, of the institution as a meeting point of a cluster of communicational lines, some of which '0 far back in ti.e and laterally in space. Such a cluster describes the context of the phenomenon, with context understood not as the atmospheric surround but as that which permeates the institution's formation. This approach demanded of the research a broad standard of relevancy, but was crucial ...... to my purpose. Communications studies has a rather .on.rel ( iv aenealoay which has tended to weaken its perception as a discipline. Vet l consider it the insiaht of communications to identify as its domain the ways in whicb entities of difference meet and en,a.e and transfora their differences into affinities. Readina aodern art history and aesthetics, socioloaical studies, political memoirs, commercial practices, etc. as beina aIl of a piece is to brina linkaae ta that which had been considered entirely disparate.' This representation, then, should be read as like a monta.e for the suggestiveness of its combined elements and for the pattern of its shape. * * * * • The author of any work is inevitably helped by othera,.and l am no exception. The University of Library provided me access to its collection of Alan Jarvis papers, the National Gallery to its archive. The Canada Council provided helpful funding. Those participants and observera who spoke with me and who offered their thou,hts and memories include Robert Ayre, Thelma Mary Ayre, Frederik Eaton, Timothy Porteous, F.R. Scott, Marian Scott, Humphrey Carver, Anne Trueblood Brodzky, Tony Williams, Paul Arthur, Barry Lord, Elspeth McConnell, R.H. Hubbard, Harry Mayerovitch, André Bieler, Mi.i Taylor and Robert Fulford. Donald Theall and Hu.o HcPherson were particularly contributing, and David Crowley bas been, from the beginnina, a constant advisor. l am arateful to each of ( them.

----~------Introduction

Normal soc 1010gy, after Durkhe lm, p laced 1 ns t i tut 1 nnH "Il t

the center of soc i ologlca 1 a t ten t Ion. They cons II tu te the mlll n

bUIlding blocks of soc let y . "1 The metaphor 0 f tht'" bUll dl ng

block and its visIon of SocIety as put togethrr ln a klnd of

kIt, has become rightfully suspect as thp hypostatlznd

representatlon of a device whose functional workingR are

available for observation, descriptIon and explanatlon as if

they were components of Il machIne.

Yet 1 would like ta redeem ~he primary inslght of the

constructed form of the instItutIon (etymologlcally, ta plllce,

ta arrange, ta build and also ta instruct ln a method) and

join it with thllt approach to the social sciencps WhlCh is

called hermeneutic.

This 'lnsti tutionai hermeneutic' is consti tuted hy Il numhl~r

of key orientationai stances: flrst, that institutions nrp

prlmarI1y spatIal. The concepts of space, place, vollJmf',

shape, reglon, confIguratIon, territorIal deflnltlon, etc.

provide us with descripti"e tools for the way that

institutIons contain, pxclude, absorb, expel and genprally

operate to normalize social behaviour in thelr power ta

providc context and ta grant acknowledged meaning to

individual communIcatIon.

~1ost. importantly, the borders of any InstitutIon are th!!

si tt"'S of thpi r interactIon wi th the generlll society th"~y

inhabl t and U1P. thresholds of thelr Openlngs. Any IndlviduaJ 2 organization thus has the spaoe it oooupies, makes olaias upon, and the Inegative space' of exolusion, defined but not oooupied by the institution, which surrounds it and whose

shape is determined by it. The ne.ative sp~ce of an institution ia that whioh nor_ally it is silent upon, and some

of these silences are as ~ignificant as what the institution utters. Morphology, as the description of the ohanles of the institution's shape provides a comprehension of the institution's historical experienoe and also its ability or inability to adapt and to develop.

S~cond, that the description of institutions oan be architectonic., which ia to say, the composed design plus the idea or formula which created it and the method of its construction. The relation between the "shape" of an orlanization and its "idea" finds oo_on link in the etyaolog,. of the word "meaning" (something whose recovery hermeneutics has been much about); as Albert Hofstadter notes, "the word Imeaning' therefore means that whioh ia had in mind. intended. purposed. desi.ned."' Plato's version of lidea' was based on the figure of the image the craft•• an has in his mind of the object he intends to make. Idea, thus, has the quality of intention, anticipation and projeotion of the end result and the praotical means of its attainment, for the oraftsman as he dreams his object is also imaginin. how he will make it. ( Thirdly, that the identity of an institution is not tound in its tangible expression, or its appearanoe, but in the pattern 3 which formed it and of whioh it is the oarrier. The A.e~ioan economist Kenneth Arrow calls this pattern the oode:

••• history matters. The oode is determined in acnordance with the best expectation. at the tiae ot the fir.'s crea~ion. Binoe the oode ia part of the firm'a or more aenerally the oraanization'. capital .•• the code of a ,iven organization will be modified only aJowly over time. Bence, the oodes of organizationa starting at different times will in general be different even if they are oompetitive firms.·

For Roland Barthes, the paradox of structural identity was best illustrated in the account of the Arlo:

A frequent image: that of the ship Arlo (luminous and white), each piece of which the Araonauts aradually replaced, so that they ended with an entirely new ship, without having to alter either its name or its forme The ship Arlo is highly useful: it affords the alle.ory of an eminently structural objeot, created not by genius, inspiration, determination, evolution, but by by two modest actions (which cannot be cau,ht up in any mystique of creation;: substitution (one part r~places another, as in a paradi,.) and nomination (the name is in no way linked to the stability of its parts): by dint of combinations aade within one and t~e same name, nothing is left of the orilin: Arlo is an object with no other cause than its name, with no other identity than its form. 1

This echoes Gregory Bateson's concern with homeostatic adaptation and "how things change while remaining the same."

In the language of genetics, an institution is both autocatalytic and heterocatalytic - re,eneratin. itself and generating output different from itself; both self preservina and making, survivin, and propo,atina, both a designed and desi,nina construction. And the code which produced the or,anization and which is reproduoed by the oraanization ia the principal asset of the organization, ( 4 ••• the learnin, of a oode by .n indi vidual ia an .ot of Irreversible investaent tor hi.. It ia therefore al.o .n Irreversible o.pital aoouaul.tion for the or,animation. It follow. that or.animationa, ono. created, have distinot identitie., beoau.e the ooat. of ch.n,in. the code are thoae of unanticipated obsoleacenoe. • Fourth, t.he inati tution or "inati tution-token" (or.anizat.ion) can be treated aa a text: Int.erpretation, in the senae relevant to her.eneutio., is an atte.pt to .ake ole.r, to .ake sen.e of, an object of study. This obj_ct .ust, there~ore, be a text, or a text-analo,ue, which in ao.e w.,. ia confused, inco.plete, oloudy, see.in.ly contradictory - in one way or another, unclear. The Interpretation ai•• to brin. to li,ht an underlyin, coherence or aenae.' Thus, hermeneutics reoonatruota a d ....ed text, reveals the tears and repairs the parts so th.t they are le.ible. ", ( the man,. meanin,s of the word oritiois. th.t have now beoome quite blurred, there is one that, over aever.l centuriea, has corresponded to the activit,. of restoration."1 As critiois., hermeneutios is biased toward bein, pre.ervative. Yet there are ways in which an institutional heraeneutic can be critioal. The critic, in his co.. entar,., i. continuin, the institution's disoourse and i. clai.in., in doin, ao, the rilhts of membership to that disoourse. This critical meabership is critical in ter.s ot internall, questionin. the concerns of ,oals. aethods, etc., but a.int.in. the preservational bias of institutional self-conaerv.tion. But the cri tic also retains the riaht to break otf co.. unic.tion within the institution and to oppose its existenoe. This (.. "institutio-clasm" is still joined to the institution'. history and aay weIl be another aean. of furtherinl the underlyin. code of whioh the partioular or.anla.tion ( inati tution-token) i. an expre•• ion. For Paul Riooeur, even "é::xtre.e ioonoola•• belon•• ta the reatoration of aeaninl.". Some of the iaplicatione of ori tioal aeaberahlp and in8titutio-cla.a for the analyaia of oonte.porary oultural participation will be drawn out in Chapter VI of thi. work. Gre.ory Bateson onoe defined • idea' a. "a differenoe whioh

.akea a differenoe." The reaion an in8ti tution Bark. off i. delineated bl" the bordera produced by differentiatin. idea8. Theae idea8 can be conaidered "tera-notion." and have the functional character of boundary-po.ta in definin. the doaaina - of inaide and out .1. What neede be .8tre8sed ia that the border belon.s to neither the inside nor the outside. The establishment of differentiatin. idea. ia ne.otiated between conti.uoua parties under oondi tions of oonfliot or collaboration. Unlike .ost intellectual histories, whioh deal wi th the atrua.les and resiatancea of new idea. and ·paradia.-shitt.' ,

.y ooncern is with the aubtle ahitta amon. received ideas and the wa7S in which chan,ea oocur ..on. routine ooncepts. Thi. i. not a hi.tory of the areat, the ori.inal and the revolutionary, but a atory of people tryin. to achieve the acoeptanoe of, sOBetiee., difficult art aaon. a reluotant

public by means of fa.iliar and aoknowled.ed notions. A. A.B. MoKillop put it, "If the intelleotual historian in Canada 6

looks for original thought he will find very little. But

having faced this fact, he should not let i t serve as an

excuse for ignorina the thought that did existe "Il Wbat ia of

interest is the ways in which the ideas were reoei ved and

applied to the particular situation in Canada.

The oreanization establishes membership in the accessibility

i t offera, the protocols, entry requirementa and defini tions

of loyal ty for those whose lives it touches upon. The notion

of membership relates to that of reoeption, but rather than

identify the institution's audience as consumers, 1 wish to

stress the traffio that passed from one side of the oounter to

the other, and the ways in whioh opposition also consti tutes

membership.

Todi vidual actors are to be understood prosopographically.1 J

The specifio players have personalities, histories and careers

which are signifioant to the development of the organization

and who are drawn to the organization becauae those same

features are seen as benefitting the organization. Their

activities reflect the organization's self-definition. This is

of particular application in the case of artscanada as art

journalism was not (and is not) a field wi th a highly

developed program of training or clearly defined credentials.

Nearly everyone involved came from some other discipline and

gained their journalism skills on the Job. The institution's ( decisions as to what was relevant learning and experience is an index of i ta 'view of i ts needs, i ts task and of i ts aspired l : 7 direction. Individual. al.o provide the aaterial aean. for the transaission of ideas. The ',enealoIY' of artsoanada i. constituted as auch by what ideas were broulht to the .alaEine as the ideas for.ed. uttered and oarried in the ••••Eine·. production. The .essy, oontin,ent, practical and utilitarian ele.ents

are aoknowled,ed as nece.sary, but evaluated a. oulturall~

deter.ined and expressive. l ' Institutions are the oocurrenoe of many choices which aocu.ulate to produoe the ooherence or aense of an or,anization. Theae acts, followin, Riooeur •• , can be read textually as a disoourse of deeda, tian open worktl ..... whose meanin, is continually re-conatructed in Interpretation • It will be seen in the followin. work that .y oonoern ha. not been for a detailed internaI history of the institution nor a olose readina of ita publioationa - thou,h there will be instanoes of both - but for those Eone. of activity at the ed.e of the institution in which the 'world' of the inatitution .eeta the 'artworld'l. and the aeneral world. MJ interest ia in the position the ma.aEine occupied in the communioational network for.ed sinoe the last war, a network whioh wa. oonstruoted to enbance oulture .nd whioh has, in due course, inoreaainaly beco.e the definition of culture itaelf.

Partioipation in oultural co.. unication i. aore overwhel.inal~ 'cultural' than the artistic aotivitie. it preauaably serve. to proaote and art support institutions have increasinaly 8 beooae attended to, by auspicioue critio. and opportuniatic careerista alike, as the deter.inin. oontexta of art production. Thus the work riska the aoouaation of heing an art history without art, but 1 propoae that what 1 have to aay, if correct, should not oonfliot with, but would dovetail with, other studies more focuaaed on art worka theaaelvea. The work bere ia organized as a aeries of approaohe. whioh in their order follow looeely the chronolo,y of the institution, but dwell upon key ideational turne or oppositions which are identified ae bein. of do.inance or importance to the ma.azine's developaent over ti.e. Tbere ie, of oourse, some overlap and continuity -'the ia.ue of ( eduoation, for instance, is called up frequently over the ma.azine's history, but the specifie .lant and wei.ht it ie given in each era is indicative of the magazine'. changin. reliance on education within ite definition of art and ite peroeption of its own role. It is ay contention that the institution's strate.ic application of such key ter.s is what identifies its position as a vehiole of art aupport. A note on nomenclature - Canadian Art refera to the _a.azine from its inception in 1943 to the end of 1966. In 1967, the ma,azine was rena.ed arts/canada and waa offioially oalled that until the early part of 1973. artsoanada'ia the n ..e of the magazine from 1973 to its demiee in 1982; it also refera ( to the institution in its historical entirety. The Arco at least was oonstant in its na.e. 9 1 have included a. an Appendix a table of artiole."on an issue by iaaue basi., that have appeared in the ••••Eine over ita nearly 40 yeara of publication. Thi. i ••eant to .erve firat as a doou.entary referenoe, but it i. a1.0 there for the reader to aee the rhyth•• of chan.e and oontinuity, frequenoT of contributora and concern., .ode. of entit1eaent .nd typo,raphioal oonvention., and enoulh of the f.bric of the malaEine aa auah a liat aan provide. 10 Notea - Introduotion

1. Alex Inkeles, What ia 800iolo.%1, (Bnllewood Cliffa, N.J.: Prentice Hall, 1964), p. 67. 2. "There are the arohitectonio unitie. of .yate••••• which are oonoerned not with the de.oription of oultural influenoe., tradition., and continuitie., but with internaI oobereno•• , axio•• , deductive oonnexions, oo.patibilitie•• " Miohel Fouoault, The Archaeolo.y of Knowled.e, (London: Taviatock, 1972), p. 5. 3. Albert Hofstadter, Truth and Art, (New York: Minerva Preas, 1968), p. 63. 4. Kenneth J. Arrow, The Liaita of Or.anization, (New York: W.W. Norton, 1974), p. 56.

5. Roland Barthes, Roland Barthea, New York, 1977, p. 46. Also, "There are never creatora, nCithin. but co.biner., and literature ia like the ahip Ar,o whoae Ion, hiatory adaitted of no oreation, nothin, but co.bination.; bracketed with an unchan,in. function, each pieoe waa nonetheleaa endlesaly ( renewed, wi thout the whole ever oeaaina to be the Arao." Roland Barthes, Critical Bssaya, trI by Riohard Howard, (Evanaton: Northweatern Univeraity Pre•• , 1972), p. xvii.

6. Arrow, p. 55.

7. Charles Taylor, Interpretation and the Sciences of Man, in fhiloSODh% and the Human Soience. (Philosophical PaRera: 2), (Cambrid.e: Ca.brid,e Univer.ity Preaa, 1985), p. 15. 8. Jean Starobinski, Criticis. and Authority, in Daedalua, Fall 1977, p. 1.

9. Paul Ricoeur, Freud and PhilosophY: An B.aay on Interpretation, (New Haven: Yale Univeraity Prea., 1970), p. 27.

10. Cicero: "Nulli po.seasionu. ter.inii" or "Noone owns a boundary .arker". Terainii were na.ed after Terainua - the lod of land.arka. His atatue wa. a rude atone or po.t, aet in the ,round to mark the boundaries of field •• Severe punishaent for anyone who reaoved a boundary stone.

11. In Contours of Canadian Thou.ht, quoted in a review by Michiel Horn in The Globe and Mail, October 17, 1987.

( 12. Literally, the appearanoe of perRona, but now "a atudy or description of an individual'a life and career: hence, historical inquiry, esp. in Ro.an history, concerned with the 11 study of (political) careera and faaily conneotion•• " OBD Supple.ent. 13. Hersohel Bardin'. cla•• ic A Nation Unaware (Vanoouver: J.J. Douilas, 1974) ia an exaaple of treatin, oo•• erciai aetivity aa eeono.io ethno,raphy and his work provides an exe,eaia of business history. 14. Paul Ricoeur, The sodel of the text: .eanin.ful aotion oonaidered as a text, in Ber.eneutic•• the Hu_an Soienoe•• ed. and tran•• by John B•. Tho.p.on, (C ••brid,e: Ca.brid.e Univeraity Press, 1981), pp. 197-221. 15. "To Bee so_ethin. as art require. 80.ethin. the eye eannot deacry - an ataosphere of artistic theory, a knowled.e of hiatory of art: an artworld." Arthur Danto, The Artworld, in Journal of Philo.opbY, Oetober 15, 1964, p. 580. "A work of art in the claBaifieatory sense i. (1) an artifaot (2) a Bet of the aapects of which ba. had oonferred upon it the statuB of candidate for Appreciation by ao.e peraon or persona actin. on behalf of a certain social institution (the artworld)." Geor,e Dickie, Art and the AeBtheti~: An Institutional AnalY8ia, (Ithaca: Cornell Univ. Pres., 1974), p. 34. Aiso p. 31, "When 1 calI artworld an inati tution 1 a. sayin. that i t - ia an eatabliahed practioe." 12 Chapter 1 - The Orsanization Cof As.ooiation.) "At the atart, our aia wa. to replace what the war had taken away; but we .oon found that we were providina what had never exi.ted even in peace ti.e.".- John Maynard Keyne •• ln late June 1941, durina the turaoil of war and the total aobilization of a co.. and econoay, one hundred and fifty artiata, critios, teachera and art adainistratora .et iD conference on the oampus of Queen'. University. Held under the triple auspicea of the University, the Carneaie Corporation of New York and the National Gallery of Canada, the Kin •• ton Conference (aa it haa co.e to be known) souaht to eatablish teras for the existence of art within wartiae condition••

Participants were firat ooncerned witb the direct involv~aent

(. of artiata in the war effortl , but there wa. also the aenae that the country waa in the prooess of establiahina an administrative apparatus which would ex tend beyond the war'a duration and prefiaure the for.a of peaoetime reconstruction. In the na.e of democratio ideala, apeakera proaoted the necesaity (and not luxuriouanea8) of art in "ti.ea of national stress" and that artiata could contribute intelliaent approaches "to the idea of what we calI deaocracy." In a period of refor.ulation, it was au.aested, professional and experienced foraer. and shaper. aiaht prove uaeful. André Bieler, artist and chairaan of the Fine Arta Depart.ent at Queen's had been 8upported in initiatina the ( conference by H.O. McCurry, Director of the National Gallery, and Dr. Frederick Keppel, President of the Carneaie 13 Corporation. The oollaboration of the acadeaio, the ouratorial and the philanthropie appeared touohed bT the ideaa of John Dewe, and the experienoe of depreaaion-era U.S. ,overnaent cultural fundin, (whioh waa, in ita own turn, inapired by the Mexioan pro,ra. of art aupport.)

While IIi tler was invadin, the Soviet Union, the artiata and art enthusiasts sou,ht to define the artiatio aotivit, in waya whioh would justify to the rest of aooiety the coapellin, nature of their pur.uita. As Thoaaa Munro, in another context, put it, "The study of aeathetica in a tiae of war and eoonoaic distreaa needs a defense."' Walter Abell. ~f Aoadia Univeraity and editor of Maritime Art, a aaali publioation be,un by the Maritime Art Assooiation, ,ave one of the earlier speechea and one which set the ter.s for much of the later disouaaion. Called "Art and Democraoy", hia talk identified the fine arta aa bein, in the oontrol of a wealthy plutoorao, who had aaae.bled princel, collections of imported worka old and forei,n. A,ainst thia oondition and the dominanoe of paintin" he appealed for a unified definition of art whioh would involve aIl means of visual experienoe, includin. child art, industrial arts, deai,n, deoorative arta, publio atruoturea like hi,hways, da.a, and brid.ea, and the auto.obile, etc. These reco,nizable activities would benefit Iro. artiata' partioipation and would be the route for the artiat'. reinte.ration with society. To thia end, he oalled for .roup effort and the establishaent of a federation of artiata. ( 14 This appeal was repeated by several later speakers and wa. included in a let ter .ent to the oonference froa Lawren Harri. in Vancouver. Besides the federation, ooabinin, e.tablished associations, includin, individual ae.ber.hip and workina for "nationwide purpose", Harria propoaed a national art .aaazine "written and produced by the artista of Canada for their own benefit and consuaption.'" Abell's little bi-aonthly aa,azine (it started in 1940 with a circulation of 50 and was printed ai.eo,rapically) was considered a successful prototype for a aediua of federation and for those attendin, the conference it represented a base upon which a national art aa,azine could be founded. For.ed by ( the Maritiae Art Association (an alliance of seventeen maritime art ,roups), it had attracted the attention of artists across the country and was servin, as a oo.. unication. conduit for artistic activity and ooaaentary. When it suspended publication in 1943, its ciroulation had reached 1000. While the Kinaston Conferenoe ia often oonsidered the initiatina source ao.ent of Canadian Art aaaazine, in fact the conference never formally aoved for a national aaaazine and Maritiae Art's transforaation and the tranafer to Ottawa would not occur for another two yeara. On February 13, 1943 Abell wrote McCurry at the National ( Gallery infor.ina hi. that Acadia waa droppina the art departaent because of the war (and .ovin, it. budaet over to 15 the aciences) and that while Abell had been offered a position at Hichiaan State Collele to belin after tbe war, in the meanti.e he waB to be witbout work. It was onlT at thi. tiae tbat Abell, who had arrived in Canada fro. the United States on a Carnelie Irant and waa known and respected by the foundation, prepared a presentation to the Carnelie Corporation and the trustees of the National Gallery for the establishment of a national art _alazine. The reason for involvin, the Carnelie was that the National Gallery had been voted a $30,000 foundation Irant on May 23, 1939 for extension services, especially for the pro.otion of

child art. $6,000 had been sent and then payaents were - suspended because of the war. Tbe Gallery had, in effect, a $24,000 "credit" at the foundation and was atteaptinl to apply some of this money to fund the new .alazine. The problem was that a periodical did not entirely fit the terms of the ori.inal Irant and the officiaIs at the Carne.ie were lenerally unenthusiastic about the potential educational benefits of an art malazine. Abell Btressed in hiB application to Walter Jessup, then president of the Carnelie, that the malazine would be an "educational enterprise" and, after aIl, the continuation of an activity (Mariti.e Art) that tbe foundation had funded.

McCurry arlued for .6,000 from the Carnelie while the ...... Gallery wou Id contribute the same pluB "office spaoe, clerical help, and in fact, aIl the resourcea of thia institution would 16 be at Abell's disposaI." On May 19, the foundation agreed to send $3,000 for one year starting in July 1943. Abell was appointed Supervisor of Education at the Gallery (which had been Arthur Lismer's old position). Thus the magazine came to be established in Ottawa. But it waB not meant to be an organ solely of the National Gallery. Nominally, it was a publication "under the direction of a Board representing the National pallery of Canada, the Museum of Fine Arts, the Vancouver Art Gallery, the Winnipeg Art Gallery Association, the Maritime Art Association, the Federation of Canadian Artists." This board met only once, in 1944 at the time Abell left and new editors were appointed. The Winnipeg Art Gallery Association and the FCA both provided subscriptions to aIl their members, but otherwise the entire financial responsibility fell upon the Gallery.

But McCurry was caught in an administrative and proprietary contradiction. To justify dedicatina part of the Gallery's budget and resources to the magazine, he had to claim, internally, that the magazine belonged to the Gallery. But Maritime Art had had a paper ration which would only be available to Canadian Art if it was the continuation of the old title. On November la, 1943, W.A. Deacon, Executive Assistant of the Wartime Priees and Trade Board, wrote to ( McCurry with some irritation, "Will you please let me know who actually owns Canadian Art?" 17 The response was unsatisfaotory and the Board could have

removed the ma,azine's paper ration. Instead, the y permitted

its publioation under the conditicns that it remain non-profit

and that advertisinl revenue be kept less th an subscription

revenue. Thus, under the scarcity conditions of war, the magazine appeared, in the autumn of 1943, in forced dependence

upon the National Gallery, while retaining its ambiguous

ownership title.

We now must go back somewhat and expand the descr1ption of

the institutional forces which gathered and met in the establishment of Canadian Art.

Among the of architects of our cultural apparatus, there should be a place for Frederick P. Keppel. Keppel, the son of a major New York art dealer and once Dean of Columbia

University, was President of the Carnegie Corporation from

1923 to the end of 1941. In that capacity, he initiated at the foundation a pioneer arts proaram directed towards the "three directions of college art study, of philanthropie assistance to art, and of museum educational activity."e Durina this period, it was customary for the major American foundations to have a Canadian or Commonwealth component in their prolrams.

As the Massey commission frequently noted, these foundations were often the sole support for innovative and exploratory work in the maintenance and diffusion of Canadian cultural and scholarly aotivity. As noted in the case of the National

Gallery, even the public institutions were direct 18 beneficiaries of its pro,rams and, more importantly, participated in the foundation-ini tiated discus.ion. of the public institution's tasks and methods. Keppel, in his book The Foundation, draw. out some of the ways in which American foundations had developed their own practioes. Obviously, pure material supp0rt for other people's researoh and aotivities was the principal base of the foundation's purpose. But the foundation was not passive and merely responsive to what was gaina on elsewhere. One of the major concerns was ta fund research, conferences, etc. whose purpose was ta determine and ta articulate future areas for support. In other words, the foundation also had ta fund i ts ( own education and studies for the improvement of its own methods. Research in, say, colle,e art education had the double purpose of describin. the problem and identifyin, where the roundation should focus its resources and iaplement

programs. nA grant for the trainina of museum curators as a part of the Harvard campal,n of 1924 proved acceptable to that University, and as experience has shawn, has proved of particular usefulness in developina our own interests in the fine arts and in the educational service of museums. ", But these pro. rama , once established and proven, were not meal'lt to be maintained indefini tely by the foundations. "As believera in democracy, we are bound ta look forward ta the day when the community will take over the functions now

performed by the foundations of the type we have discussed. "1 19 Thus, the foundations, havina done the pioneer re.earch and initiation of proarams, passed the responsibility over to the community. Keppel paraphrases and quotes Dr. Beardsley Ru.l of the Spelman Fund: In aeneral, private funds are most appropriately u.ed for work of a novel or experi.ental charaoter, or for activities which are not ,enerally accepted as a public responaibility. When, however, the public responsibility becomes recoanized, private a,encies "may properly be expected to show aood cause why aIl or part of their pro"ram ahould not be so transferred. ft. In the case of the foundation's art proarams, tbe spirit which presided over their de.ian and bad often direct personal influence was that of John Dewey. The decelebration of art actually has ita roota in one of the Most promisin, the.es of twentieth-century aesthetics: the reintearation of art and life. Apart from Brecht, Dewey was perhaps the most influential exponent of this idea. Dewey wanted to link aesthetics to tr~al' - as opposed to tideal' experience. Unfortunately, hi. no'tion of real experience was auch too beni,n to accomaodete the realities of sy.bolic and social processes. The aesthetic waa, for Dewey, ai.ply a ,ood, wholesome, and rational thin, - a "clari fied and intensified development of traits that belon. to every normally complete experience."lt Shortly after the Firat World War, Dewey wrote: The increaain, acknowledJement that Jooda exist and .endure only throuah beinJ communicated and that association is the means of conjoint sharin, lies at the back of the modern senae of humanity and democracy ••• lt follows that orJanization ts never an end in itself. It ie a meana of promotina association, of mul tiplyin, effective points of oontact between persons, directinJ their intercourse into the modes of Ireatest fruitfulness. 11 Thua, the foundation aou,ht to furtber art'. union with life by encouraginJ creative encounter in associations, whose physical sites were either in place, as in the case of the 20 colle,es, or had to be constructed. Walter Abell's Carne,ie­ funded work at Acadia was partly tu increase Buch as.ociation and partly to explore the media of association. What wa. not predicted was that Abell would have such a miserable experience with the Maritime Art AS80ciation. To McCurry, in January, 1943, Abell wrote of his difficultie8, of how the committee operated in bad will, "uncon8cious of tremendou8 reservoirs of repressed emotions, self-8eekinl envy and aIl the rest which lie within them." For Abell, the very personableness of association was a bitter problem, and the alternative of or.anization in Ottawa appeared for hi. as a relief. ( Meanwhile, the Federation of Canadian Artists, which had been formed at the Kingston conference and was one of the members of Canadian Art's board, retained the oriainal hope of having the magazine serve as a communicative medium of and for artists. This can be seen, first of aIl, in the articles of technical instruction in which unfamiliar method8, like serigraphy or fresco, are described to practitioners, and in the publication of FCA events. But it is alao evident in the articles in which artists proposed ways in which art and artists cou Id contribute to p08t-war society. In briefs to the parliamentary committee on reconstruction, aroups of arti8ts spoke the language of policy in formulatin, the construction

of a new cultural infrastructure.ll The ma,azine reproduced • the arguments for inclusion of art in the plannina of the 21 - massive buildin, boom that was anticipated at the end of the war. Specifically, Lawren Harris, who was president of the Federation of Canadian Artiats, called for the construction of 25 major and 50 minor 'Cultural Co.munity Centres' acroa. the country whose presentations would be fed by the CBC, the National Film Board and the National Gallery. Art wou Id be employed in the necessary urban plannin, and in ita reault. In brin,ina new terms and lanaua,e to Parliament, artists also recited "facts and figures with crystal clarity in a languale

simple and impressive. "1 J It was with some self-satisfaction that artists noted the reasonableness of their discourse and the practicality of their plans. Whatever the politicians learned, the artiste had certainly learned to speak the language of Parliament and make a virtue out of a necessity.

Walter Abell resianed as manaain, editor on July 31, 1944, and was replaced by joint editora Robert Ayre and Donald W.

Buchanan, who wou Id stay as editors until 1959. Robert Ayre

(1900-1979) was a journalist and publicist with the C.N.R. in Winnipeg and then Montreal, and Supervisor of Visual Redesi,n for the railway. He was once described by Lawren Harris to McCurry as, "modest, quiet and in every way a ,rand person." Witnesaes to the era of the formation of our cultural apparatua are quick to acknowledge Donald Buchanan's pivotal

contribution.'. Born in Lethbridge, in 1908, the son

of publisher and senator William A. Buchan~n, Buchanan was an irascible, difficult, unkempt, generoua fi,ure on the art ( 22 scene until his accidentaI death in 1966. Besides bein' the author of (1937) and other worka of art criticism, he founded the National Fila Society of Canada, or,anized (with Humphrey Carver) the National Industrial Desian Council, worked at both the C.B.C. and the N.F.B. (as

Supervisor of Rural Circuits), and W&S at the National Gallery from 1944 to 1960. In his later years a photo,rapher and oenophile, at the time of his death in 1966 he wa. or,anizer of the International Art Exhibition at Expo '67. As a ,reat connector between separated spheres, Buchanan represented the hope for the re-intearation of art to society. As his bioaraphy shows, his .ajor activity was in the ( development of means of linkaae by association, with the basic purpose to establish ,ood workin, relationahips between artists and their public. But as experience demonstrates, the actual devioes of linkage take on a substance and presence independent of that which they are conjoinin,. Vehiclea of association, such as the art maaazine, which are desi,ned to enhance ooamunioation between art community members become or,anized into institutions which develop their own self-preservin, status. When the ,oals are unclearly formulated, the means take on the character of ends.

( 23 - Notes - Chapter 1

1. D1sCUss1ng in 1945 the British Council for the Encouragement of Music and the Arts (CEMA), of which he was chairman, quoted in Janet Minihan, The Natlonalizatlon of Culture, (New York: New York University Press, 1977), p. 225.

2. Though this was not universally so: there remalned n number' of artists quiet and absent from the conference, who chosp thp struggle in thelr studios. As Harold Innis s8id of social scientists, even in times of war, it is best to "stIcit to your posts. "

3. Thomas Munro, Knowledge and control in the fipld of aesthetics, Journal of Aesthetlcs and Art Crltlclsm, No. l, Spring 1941, p. 1. Munro's context wns closer than appears. Like Bieler, he had been supported by the CarnegIe Corporation ta organlze conferences in New York in 1940, and in Pasadena and Berkeley in 1941, from which arose both the American Society of Aesthetics and Art Cri ticism and the Journal. Munro was on the faculty of ColumbIa and a student of Dewey's.

#. 4. Walter Abell (1897-1956) - From 1928 until 1943, professor of art at Acadia University, Wolfville, Nova Scotia, where he organized the founding of the Maritime art Association and began publication of MaritIme Art in 1940. Became Education Officer at the National Gallery in Ottawa in 1943, wher~ he functioned as editor of Canadian Art until 1944. Author of Representation and Form: A Study of Aesthetlc Vnlups ln Representationsl Art (1946) and The CollectIve Drenm ln Art (1957).

5. Conference of Canadian Artlsts, ProCeedlngs of a conference held at Queen's University, Kingston, June 26 - 2H, 19~1 and at the National Gallery, Ottawa, June 29, 1941. Edited by Andre Bieler and Elizabpth HarrIson, n.p., Dpcpmb~r 19H, p. 103.

6. ~'alter Abell, Patron, Incorporated, ln The MagazIne of Art, Vol. 34, November 19~1, p. 475.

7. Frederick P. Keppel, The Foundatl0n, (N~w York: MacmIllan, 1930 ) , pp. 4 1 - 42 .

8. Keppel, p. 110.

9. Keppel, pp. 43-44.

10. Charles Levln, Art and the SocloloSJcnJ Ego, ln Llfp After Postmodernism, ed. John Fel{pu~, (MontreRl: New world Perspectives, 19H7), p. 51. 24

Il. John Dewey, Reconstruotion in Philosophy, (Boston: Beacon Press, 1957), pp. 206 - 207. 12. See articles by Elizabeth Wyn Wood in Canadian Art, Volume 1, No. 3, Feb-March, 1944 and Vol. II, No. 1, Oct-Nov, 1944, and by Lawren Harris in Vol 1, No. 5, June-Jul7. 1944. 13. Blizabeth Wyn Wood, Art Goes to Parliament in Canadian Art, Vol. II, No 1, Oct-Nov, 1944, p. 41.

14. "This sllall, untidy, unprepossessin. man wi th an ineffective hearin, aid was a truly .reat Canadian and an innovator who did more to develop the arts of this country than anyone 1 oan think of." Humphrey Carver, Compassionate Landscape, (Toronto: Pres8, 1975), p. 78. Carver, an architect and town planner, appeared in Canadian Art, Vol III, No. 2, Jan-Feb 1946 with Anonrmous Architecture and Personal Paintin., and Vol. IV, No. 3, May 1947, The Family Home.

(

( 25 Chapter II - Creativitl and Industry If, as Albert Solo.on once put it, there is no aoci010ay of knowledae, on1y the aoci010lY of error,l then iaplioit within a soci010lY of creativity .uat be a aociololY of the routine. Thia ia particularly necessary in the ca8e of the hi8tory of artscanada as the oxymoronic, yet real, 'routine creativity' of design, typography, Iraphic art, advertiainl, craft and moat architecture remained a relular feature of the .alazine'a concerns and one of the principal co.ponents in its construction of the art venture. Allied with that was its strategy of 'routinizing' creativity in ita atteapt to _ake art comprehensible in terms of ordinary industry and to - reconci1e artists with society. The notion of artistio lenius as the wellsprin. of art was dissolved on behalf of a creativity which was potentially available to aIl. We would encourale the type of vision which conceives art, not merely as pictures on a wall, but as doinl admirably and beautifully whatever needs to be done. The ultimate creative task ia the creation of an ordered world. To such a world the arti8t can contribute a finely planned environ.ent of ho.es, public buildings, com.unitiea and countryside; useful and decorative objecta capable of aatisfyinl practical needs while at the aame time livinl delilht to the eye; painting and sculpture which embody the finest aspirations of the co.. unity.1 The initial avenue for thia reintelration in the forties and fifties and somewhat into the aixtiea was the isaue of induatrial design. Walter Abell, Donald Buchanan, Alan Jarvis

and Paul Arthur', were aIl committed to the breakdown of th~ fine art distinction on behalf of a wider and .ore ( 26 comprehensive aesthetic which reco.nized beauty in the commonplace. The lessons learned fro. art would pass over into the everyday and provide ,ood critical jud.e.ent in the evaluation of everythin. in the visual environment. Urban planning, industrial production, and cheap arti.tic reproductions would live to everyman an ability to compose his surroundin,s in a manner only available hitherto to those both rich and cultivated. Diacrimination could be democratized. Turning to induatry itaelf, these promoters ar,ued that the fine domestic objects now bein, imported, especially from Scandinavia, represented the value art could add to manufacture, and that Canadian industrialists were losinl both the home market and potential exports in not providing quality desi,n. The primary model for desi.n promotin, activity waa British. In June 1946, Herbert Read sent to H.O. McCurry at tbe National Gallery, a brief report on tbe problem of tbe future of industrial design in Canada. Based on hia experienoe at the Council of Industrial Desi,n, for.ed two years earlier, Read's program was entirely educational: train deai.nera, inform manufacturera and foster in the public an "Appreciation of Good Desiln".4 Apparently unaware tbat Canada'. constitution placed matters of education in provincial bands, Read proposed the foundation of a national deailn school. The art education ( available in a normal education waa, he au•• ested, based on a humanistic tradition and the atudy of natural forms and 27 - orlanie procesaea. Alainst this, industrial deailn required an education in "mechanistic" and "conatructiviat principlea." While the 19th century pioneer. of deailn atrul.led a.ainst the effect of industrialization by oal1inl for the return of craft to the "Leaser Arta of Life" (William Morris), aodern desiln theory sou,ht an accommodation with industrial processea to produee better _asa producta. Car!71e and the others were attemptinl the reform of workinl conditions, Read the reform of shoppinl conditions. The desilner would join the manufaeturing team, but not alter manufacturinl procedures. For the deai,n movement, the ,oal waa to affect market behaviour, not market relations. Like most refor.ers of this eentury, they believed that if a aufficient nu.ber of people were given volee, they would exercise choice aensibly and demand properly. What was sought waa a chan,e in the oontent of the normalizinl aesthetic and the conaenaua of taate. Promotional vehicles, like public exhibitions and art magazines, would eneoura,e consumer disaatisfaction and formulate appeals for manufacturinl reforme It is not irrelevant that the report waa .olicited by the National Gallery. In Canada, the Minister of Induatry, C.D. Howe, had rejected the notion that desiln waa a ,overnmental affair - he conaidered that it waa best left to induatry itself to determine what, if anythin" it wanted to do to

enhance desi,n. 1 The impetua for deai,n refora waa aaintained almost exclusively by the arts adainiatrators. Industrialiat ( 28 members of the desian move.ent, like Floyd Chal.ers, approached the subject out of their conoern with art more than from their oommercial perspective. The arts administrators considered that anythina within the visual realm could be (and should be) subject to the oriteria of the visual arts. Seeina squalor, stupidity and inefficiency, they blamed the public's lack of skill in critical judgement and its inabiJity to distinguiah superficial styling from essential need. By associatina the difference between bad and good desian with art, the artist's social role as the source for sianificant form could be established, thus re-intearatina the artist with the general ( population. In countering vulgarity, advocates of design also saw themselves overcoming the searegation of art from life that had developed since the emergence of the avant-garde in the previous century. By focussing on a sinale dimension of the art work, it's formaI significance, the desian movement made art available to aIl. But to do this, it was necessary to place the art object and the useful object along a continuum, and to disacknowled,e any logioal or categorical distinction. Yet, as Mikel Dufrenne has put it, ••• the difference between the aesthetic object and the technical object is that the aesthetic object exerci.es a sovereign imperialis.: it neutralizes its environment in order to aesthetioize it ••• Whereas the technical object receives its aeathetic value from the world, when it becomes intearated with it.' ( Thus, the art object makea a world while the induatrial object fits the world. Which ia not to say that the latter 29 need be considered trivial - makin, links can be profound.

1 suspect ••• that fine thin,a are beautiful thin,s whioh have maybe a hi,h delree of oonnectivity - atructure or or,anization, if you want; not Just structure. in themselves but connection to aany, aany thinls, the connection to the .oment, to human purpoae •• Thi. is why you find so many traditional objecta have thi. quality, because they're hi,hly connective over a lonl, long period of time.' But the early malazine's promotion of industrial desiln represents only one form of the ways in which art became joined with industry. The spheres of concern, which not only had their internaI variety and adaptations but also autated over time and were succeeded by new spheres of conjoininl concerns, can be specified as follows: a) the creative object, sharin, with the manufactured object a physical dimension and a form, can teach us how to perceive. The lessons of perception will then be applied to the entire visual universel The improvement of that visual universe is the task of the creative artiste Creativity is defined as "an act that changes the environment for the better."1 This is manifest in Buchanan's "Desi,n Index" of the forties, and Jarvis' and Arthur's graphics and typography of the fifties and sixties. Creativity in manufacture will be both useful and beautiful. b) the creative process increases necessary innovation. Here, the model of the artiat'a creativity as a aethod of novel thinking ia presented as emulative for Any constructive activity. When creativity became a management loal (and a manalement consultant's tool) it appeared as the complement 30

and the reversaI of the increased task efficiency of

Taylorism. Throuah various exercises in thinking and group

deliberation, it brought to industry a respect for short-ter.

inutility, inefficiency, the suspension of rules, freedom from

immediate judgement and play.- Like the artist, the manager

would learn detachment and how to employ indeterminate

'scanning'. Dreaming (both day and nigàt varieties) could be

productive.

c) the identification of creative activity, or culture, as

an industry in itself, The acknowledgement that literature,

say, was the very stuff of publishin. gave to creativity a

material and economic foundation it had been lacking. More

than heing something merely added on to industrial activity,

it was itself an industrial activity. Sometime in the late

fifties, it was discovered that leisure had become a

problem/opportunity which needed addressing. AlI that

potential idleness was dangerous and art, in its inutility,

could serve as, nonetheless, a more useful useless thing than

Most others and could bring some (ideally, measurable) benefit. 10

The ma,azine's vision of the relationship between art and

industry was probably never more explicit than in a 1960 controversy. In May of that year, Canadian Art produced a special issue on graphie design, ineluding advertising. book production, packagin, and television .raphies. As stated in the editorial, "The prineiple of the one-ness of art in aIl 31 " ' '- its forms and manifestations has always been the poliey of this malazine."ll

Subsequently, a number of artist8 and other artworld playera

wrote a group let ter to the magazine protesting the dedication

~f one of the limited outlets for art to the realm of

advertising, a "minor aspect of our national artiatic life,"

which has also "stolen and debased so many of the techniques

of fine art."12

Allan R. Fleming, who had been one of the advisors to the

graphies issue, was asked to reply. After arguing the points,

he concluded,

To finish, and to give a very personal opinion, 1 think these particular painters are extrememly use fui to the designer at the moment. In their removed position as pure visual scientists they are doing much of the IBb work that the designer cannot find time to do. And, for the MOSt part, that is as far as their usefulness extends today. 1 3

What desi,ners are looking for in art is but one slim and

non-elemental aspect of art: novel visual appearance. To cast

art as the R & D of sight is to give the artist a socially

recognizable role by rewarding art for its Most immediate, but

trivial, characteristic. Substituting industrial desi,n for

art is like living spoons to the hunlry. Pleasin, form and fit

utility do not combine to produce a nourishing culture.

The academic discovery of the ludic impulse in art and human

activity, of which Johan Huizinga's Homo Ludens - A Study of

the PlaY-Element in Culture is an influential example, was

based on the profundity of play. In Freud, the opposite of ( 32 play is not the serious, but reality. Play was seen as a critical opposition to established definitions of reality. It was also retrieved for its own sake as a necessary, but suppressed, dimension of bein, human. But when play becomes utilitarian leisure, "Pushpin ia as ,ood as poetry" (Jeremy Bentham). In the industrialization of play, it is too easy for poetry to become underatood and appreciated as a kind of recreational prose. From the object work, to the artist's process of unguided making, to the activity of production and consumption, art became associated, defined and defended in terms of its positive relationship to industry. However earnest and weIl meanin" the authors of the ma.azine's policies durin. its first twenty years contributed to a definition of art aa bein, subservient to the purposes of induatry. 33 - Notes - Chapter II

1. Quoted in Joseph Ben•• an and Robert Lilienfeld, Craft and Consciousneas: Occupational Teohnique and the Development of World Imalea, (New York: John Wiley l Sons, 1973), pp. 4-5. 2. Walter Abell, Report of Prolreaa, Canadian Art, Vol. l, No. l, Oct-Nov 1943, p. 26. 3. Alan Jarvis (1915-1972) - Studied under R.G. Collinlwood as a Rhodes Scholar at Oxford, aasistant to Sir Stafford Cripps durina WWII, on the staff of the British Council of Industrial Desian (1945-47), Director of National Gallery (1956-59), National Direotor of Canadian Conferenoe of the Arta,' editor of Canadian Art (1960-63) t and ohairman of the Society for Arts Publications (1964-67). Author of The ThiniS We See - lndoors and Out (1947). Paul Arthur (b. 1924) - Son of architecture professor Erio Arthur, from whom he learned that anythinl made by man can be art. Learned Iraphic desiln while workina in Europe until 1956, at whioh time he joined National Gallery as head of Publications Section. Editor or manalina editor of m.lazine from 1958 until 1967, and responsible for many of its desiln innovations. Desilned siln system at Expo 67, the Discovery Train and other lovernment projeota. 4. Herbert Read, The Future of Industrial Desiln in Canada, unpublished report for the National Gallery of Canada, 1946. 5. In Britain, the support for deailn research was substantially from the industry sector of lovernment. This would produce in later years a Ireater stress on the engineer­ desilner rather than the artist-deailner. Canada haa had almost no purely educated desilnera, and most desilners have come from the architectural profession.

6. Mikel Dufrenne, The aesthetic objeot and the technical object, in Aesthetic Inquirx: Essays on Art Cri tici am and the Philosophx of Art, ed. Monroe C. Beardsley and Herbert M. Schueller, (Belmont: Dickenson Publishina, 1967), p. 197. 7. Kevin Lynch, quoted in Who Desilns America?, ed. Laurence B. Holland, (Garden City: Anchor Books, 1966), pp. 353-4. 8. Robert Ulich, quoted br Eduard F. Sekler in The Visual Environment, in The Fine Arts and the University, (Toronto: Macmillan in association with York University, 1965), p. 77. Culture talk is rife with such apparently inoffensive comments. Vet it marks a builder'a banausic viaion of the creative aa normative in ita symbolio form and wilful and purposive in ita imperial meliorism of the environ.ent. ( 34 9. In his Creativity in Industry, (Harmondsworth: Pen.uin, 1975), P.R. Whitfield itemizes variou8 aethods, like synectics, brainstorming, and lateral thinkin., which were developed to systeaatize the fosterin. of innovative thinking.

10. "Perhaps the lover of leisure can be tolerated or even appreciated for the benefit he brings ta sooiety in the long run throu.h his creativeness in soienoe, literature, or art." Sebastien de Grazia, Of Time. Work and Lei.ure, (New York: The Twentieth Century Fund, 1962), p. 432.

11. Canadian Art, Vol. XVII, No. 3, May 1960, p. 117.

12. Canadian Art, Vol. XVII, No. 5, • 70, September 1960, pp. 307-309.

13. ibid., p. 310.

( 35

Chapter III - Art and Education At about the time of the Kinlston conferenoe, John Forbes published an article in the Journal of Aesthetic8 and Art Criticism, oalled "The Art Museum and the American 80ene",1 in whioh he noted the inorease, despite the Depression and fear of war, in the amount of support and attention beine liven Museums. Summarizing the traditional duties of the museum as providing the," ••• a) selection, b) preservation, c) classification, d) display" , of valued objects, he suggests that a change has occurred and that, "Underlyin, aIl this feverish activity is the idea that the principal job and justification of the museum of art is Education."I The purpose of the Museum and the goal of education becomes, "to eliainate ugliness from the American soene."J Provisionally, it iB necessary ta distin,uish the development of the study of 'child art' pedalolY from the adult education movement. Of the former, the primary fi,ure in Canada was, of oourse, Arthur Lismer. Lismer's pedaeolY resisted the cumulative, injecting model of art instruction and the transfer of historica! knowledle, on behalf of a cleansin" releasin, education which would draw out the pre-

consoious. 4 The ohild is identified as havinl an innate and authentic comprehension of art, understood principally formally, and that the spontaneous, individual Irowth of the

, , child can be enhanced in a prolram of "education throu,h art."1 Among the implications Lismer drew from thia position ( 36 were a str~ss on the abstract qualities of the art object and an appeal a.ainst the artificiel distinction between the fine and functional arts. (But the discovery of the abstract virtues in child art (and, relatedly, the art of the mad) could be, and was, turned against abstract art as beinl no better than the art of the immature or the insane.') As Barry and Gail Dexter Lord point out, the adult education movement has been a substantial contributing force to the formation of our cultural structures.' At artscanada, education was an occasional explicit issue or implied in some of the prolrams put forth, like the community art centre" but more importantly the magazine viewed itself as an instrument of adult education. Walter Abell clearly saw his task as being to provide guidance for those unfamiliar with how to think and talk about visual matters. Paul Arthur caricaturized Buchanan's magazine as "Donald's parish bulletin", and there was certainly a proselytizinl element to Buchanan's approach. Alan Jarvis once summed up his entire workinl life as beinl nothing other than on behalf of adult education. Paul Arthur, Barry Lord and Anne Brodzky' were aIl explicitly interested and involved in the matter. Lord, in an undated (circa 1966) internaI document entitled "General Statement of Editorial Policy for arts/canada and artscan", wrote, The lack of a prepared audience and the lack of mature ( criticism are the two chief inhibitinl factors in the development of the arts in Canada today. These two aims - education and criticism - will be the purpose of the 37 magazine ••• There ia no dualism between art eduoation and good oritioism. Onoe aJain we have here a component iasue, a JatherinJ idea of the institution whioh cannot be decried aa being cynical or malevolent, yet is not without implioations. In the conjunction of art and education there are effecta to both. In folding art into the curriculum, the curriculum and its methods of transmission were changed. Besides introduoinJ students to the civilizinJ process of art history and seeking to enhance the environment by improving public taste, Lh~ art in education movement also promoted the use of images as didactic tools. Photographs and reproductions were added to textbooks and film and still projectors became standard school equipment. The reading of individual images for their information, and the manipulatina of images in suggestive combinations were used as teachers' aida, and were promoted as necessary mass consumer skills. In the iconification of experience and learning, the school system was expected to contribute to "visual literacy." Adults, who had missed this innovation in schooling, would have to re-learn how to see. In 1947, Penguin Books began a series entitled "The Thinis We See", and the first volume was wri tten by Alan Jarvis and called The ThiniS We See - Indoors and Out. The .eries' self description is worth reproducing: The aim of the authors in this series is to encourage us to look at the objecta of everyday life with fresh and critical eyes. Thus, while increasinJ our own daily pleasure we also become better able to create surroundinJs that will give us permanent pleasure. To ( 38 achieve this in the furnishinl and equipment of our homes, we must buy with discrimination and so prove to the designers, who set the machines ~o work, that we are no lonler bound by habit or indifference to accept whatever is offered. As an educational instrument, Jarvis' book is indicative. In a note to the reader, he wrote, "This is not a book of words illustrated by pictures - it is a book of pictures with verbal commentary. If the reader spends three quarters of his time studyinl the pictures and one quarter reading the accompanying text, he will fulfil the author's intentions."' Two things are oceurrinl simultaneously here: in educatin, the public eye, Jarvis is a1so valorizing the eye in education. A pedagogy based on the word, written and spoken, is beinl joined by the ( instrument of graphie visualization. Traditional didactie methods were bein, supplemented by those with substantial visual content. It was at this time that the strategies and tools of advertisin, were bein, recolnized as having a power and effect that recognized and established modes of persuasion paled a,ainst. At the same time, the values and loals of advertising were identified as disreputable and that assault on them required a visually literate public prepared to cast critical attention upon their wares. Jarvis admonished his readers to, "Look at thinls around us and really, conseientious1y, to SEE them."IO In what must have been one of the most wonderful unmeetinl of minds ever to have occurred in a Royal Commission, John Grierson and Harold Innis were both members of the 1947 39

Manitoba Royal Commission on Adult Education. Albert Trueman was Chairman and recalls, "He [John Grierson) and Harold

Innis •.. were at Oppos1te poles. Harold, to tell the truth, wasn't much concerned for adult education; John, on the other hand, seemed concerned for almost nothlng else. "1 l

While Grierson had no direct relat10n to artscanad~ll, h.lS attitude was representaive and influential. For him,

"education uas the Most multi-media of aIL", and his mm skills of explication and h1s efforts at the National Film

Board are eVldence of his radical popularizing.

But for Innis, adult education was simply pos1tive propaganda and no better for belng positive. 13 Not only bad in itself, it bent the institutions 01' education to fit its requi rements. In his notes in the Idea Fi le, he wrote, "Adu 1 t education a grind1ng down of large 1deas to SU1t men's mlndR - part of cramming system." 14 And,

Adult educatlon, appealing to large numbers with llmi ted trainlng, can be dl sen tans(led wi th dl f fi cul t y from the advertlsing of large organizatlons concerned wi th the development 0 f goodWlll .•. ta coneent ra te on territory held by newspapers, radlo and filma, adult educat10n follows the patterns of advertlsing. 15

Pedagagy jOlned with propoganda generates 11 model of educat10n in which the assymetrlcal relllt10nship between teacher and student is re-produced ln puerlC~U L tUT'al pro~ramH of soc1al tlnkering and show'n tell dldactlclsm for adults.16

In attempt.ing to interest people ln a matter, Sllch met,hoOM adapt the subJect ta make lt intereFtlng for those who have no interest in 1t. As cult,ural t.ransmlsslon, educat.Ion trput.s tue { 40 hosts of culture as childrenl7 • In a perhaps telling equation, Arthur Lismer used the sumllary expression, "Leave 'em alone", to describe both how teachers should relate to their child art students and eovernment patrons to artists. Lismer relied on the hope that if artists had the liberty to produce pleasure for themselves, the viewer could then share in the pleasure by re-producing it in himself when looking at the work. Vet as Rollo May emphasizesla ,. creativity occurs as conflict and encounter, not as releasing relaxation. Periods of learning are special not because they are without encounter, but because they offer the freedom to fail. 1 calI the museum's means of orientation, 'pedagogical .( familiars', defined as those organizing knowns which serve as illustrative and persuasive si.iles, or tropes, for making the un canny canny.l' Through the medium of the recognizable and the familiar, art which May be difficult or dangerous can be transformed into something friendly and cosy. In the solvent of a universal creativity, pseudomorphs of similarity transform and reduce that which might be the hardest and truest in life to that which i8 designed only to fit with our 1 ives. As an activity of the extension services (whose other thrust was external affairs and the exportation of art)ao, education was seen as the pathway froID the museum to the community. The community, mediated by government, could travel back along the path to enter the museum and ask for instruction in what it 41 already knew. In another complementarity, the penetration of eduoation into the Museum was matched by the entrance of art into education. 1 have alresdy mentioned the iconification of learning in Jarvis' mute graphie presentations ("The Thini. We 8ee"). In 1967, the Canada Council announced it had eommissioned the Society for Arts Publications to prepare a study on an information centre for the visual arts. Under the chairmanship of Donald Theall, a consultinl group of fifteen, including Paul Arthur, met for three da ys in March of 1967 at Val Morin, Québec. Seeking to integrate aIl of the .enses, the group identified artistic activity as the processinl of "sensory information" and that throulh systems theory and computer technology, the flow of such information cou Id be enhanced, especially within schools. The report recommended an Implementation study, budgeted at $250,000, to desiln the neoessary data bank system. The Canada Couneil received the report and simply buried it. Such technological idealism would be succeeded in the Anne Brodzky era by a shamanistic model of the artist as the source of an indootrinatinl, bindin, cultural mythololY' Through art, peroeption, sensory information and could become fused to the curriculum. In two other ways the realm of education becomes employed strategieally within the art discourse. - During the seventies, the rise of an understandinl of cultural activity as an economic industry permitted artists to ( 42 present themselves in a commercial light, but with the difference that art as a ,oal and achievement was oonsidered an incontrovertible benefit and that anythin, which stren,thened and enhanced its economic status was acceptable. As one artist stated it, "Anythin, which puts money into an artist's pocket is ,ood." In the quest for the formation of an indi.enous art market, artists often suspended their own self-critical judgement. Thus, education became identified as a site for development - specifically, that the future market for art would depend on the early introduction of art to students in schools. Like computer salesmen, artists promoted their work in the curriculum so as to seed the attention of future consumera. And sometimes the promotion is more direct and immediate:

Thus it might be hypothesized t~P-t one of the by­ products of photo.raphic education has been the creation of an appreciative audience for the work of the student body's more talented teachers.11 Within education itself, there is a struJ,le as to the sources of learnin" with the art ma,azine as one of the players. As Harold Rosenber, noted, Speaking to a university audience, Jack Tworkov, then chairman of the Art Department at Yale, observed that the students in his departaent ••• soarcely listened to their teachers but derived their ideas from the art journals. 11 The virtue of the journal for the art student is that it provides a recipe knowledge in current trends, and lends ( itself to emulative study by ambitious careerists of art. The particular kind of public fame which the ma,azines further •

43 becomes the measure of not only success but achieve.ent. A close readin, of the art magazines reveals to the art student what is necessary to .et into the art ma.azines, and that becomes equated with artistic success itself. The .reat works of art are no less mi.used when they serve purposes of self-education or self-perfection than when they serve any other purpo.es; i t may be use fuI and legitimate to look at a picture in order to perfect one's knowled,e of a given period as it is useful and legitimate to use a paintin. in order to hide a hole in the wall. In both instances the art object has been used for ulterior purposes. AlI is weIl as long as one remains aware that these usages, legitimate or not, do not constitute the proper intercourse with art. 13 The history of art Appreciation pro,rams and literature is intertwined with the self improvement movement. Increased knowledge i8 no less worthy than an increased vocabulary. But neither, alone, represents an increase of "the proper intercourse." Education is usually harmless and often beneficial, but when the model (methods and goals) of education supplants the description of the project of art, then Any more demanding understanding is considered unnecesaary and, because it doea involve some cost and discomfort, is unwanted. 44

Notes - Chapter III

1. John Forbes, The Art Museum and the American Scene, in Journal of Aesthetics and Art Criticism, No. 4, 1941-42, pp. 4-6.

2. The pers1stance of this idea 1S demonstrated in the manner in wh.lch the Uni ted States government came to support Museum expansion during the seventIes, in which, "the main justification for treating museums as a special case was that unlike other arts organizations, they had a manifest edueational purpose. From a political point of view, the stress on the eduea tional role of Museums had obvious appeal." Kar 1 E. Meyer, The Art Museum: Power. Money. Eth ics, (New York: William Norrow & Co., 1979), p. 89.

3. A popular college textbook during the forties and fifties, Art Today: An Introduction to the Fine and Functional Arts, by Faulkner, Ziegfeld and Hi Il (Net.1 York: Henry Hol t, 1941), is almost entirely about how students can improve the home and workplace by studying art in its eapacity to organize materials and processes for the satisfaction of human needs •

.{ 4. Lismer had an acknowledged debt to John Dewey (see John A.B. McLeish, September Gale, (Toronto: J.M. Dent, 1973), p. 129.) It is interesting to note how similarly Albert C. Barnes, arguably the meanest man in the history of Ameriean ph ilanthropy, learned from the pragma tist ph110Bopher, and VIce versa, Dewey from Barnes: hlS Art As Experience 1S dedIeR ted to Barnes. Like Lismer, Barnes thought that art eould bp.st be understood by the uneducated and the naive, and tha t art t.as primar i ly perceptual. His Barnes Foundation co llec t i on ' ... as IŒpt off 1 imits ta most cri tics and his torians , in favour of chi Idren and others wi th yet unformed ideas. See Wl j llum Schack, Art and Argyro l, (New Yor\{: Thomas Yoseloff, 19HO).

fi. Arthur Llsmer, First Report on Art Teach1ng in Teachers ('0 llf'ge, unpubJ ished paper for Teaehers College, ColumbIa Universlty, 19J8-39, p. 9. Herbert Rend's book Education Throllgh Art, wou Id not appear until 1943. See also Arthur Llsmer, what fs Ch11d Art?, in Canadian Art, Vol. 5, No. 4, Rprlng-Summer 19-18, pp. 178-1i9.

6. "Tf toda~r an abstraet palnter seems to draw Jl.ke Il child or a madmun, l t l S not because he is ehlidish or rnad,. He has corn!' tn villup as qualities related to his own goals of lmn~lnRtive freedom the passlonless spontaneity and technieal InS()lL~lanee of the child, who creates for himself alone, \.n t hOllt th!:' preSRurp of adui t respons i bll! ty and praetical all.Jllstmf'nts. And simllarly, the resemblance to psychopathIe ,· 45 L art, which is only approximate and usually independent of a conscious imitation, rests on their common freedom of fantasy, uncontrolled by reference to an external physical and social world. By his very practice of abstract art, in which forms are improvised and deliberately distorted or obscured, the painter opens the field to the sU~Jestions of his represaed inner life. But the painter's manipulation of his fantasy must di ffer from the child' s or psychopath' s in so far as the act of desi~ninJ is his chief occupation and the conscious source of his human worth; it acquires a burden of enerlY, a sustained pathos and firmness of execution forei.n to the others." Meyer Schapiro, Nature of Abstract Art,(1937) in Modern Art: 19th and 20th Centuries, (New York: GeorJe Braziller, 1978), pp. 199-200. The anthololY of a century of oartoons about modern art, A Child of Six Could Do It!, by George Melly and J.R. Glaves-Smith, (Woodbury, New York: Barron's/The Tate Gallery), illustrates the constant public suspicion that modern ~rt is the work of "drunks, children, madmen or monkeys", p. 13.

7. "AlI three of these nineteenth-century patrons of collection - the private collector, the corporate sponsor and the adult-education movement - have remained major influences on curatorship and museums in Canada in our own century." Gail Dexter Lord and Barry Lord, Curatorship and Culture, in Provincial Essays, Vol. 3, Toronto, 1986, p. 10.

8. Barry Lord (b. 1939) - A frequent contributor to the magazine, became editor at the beginning of 1967, but dismissed during the same year. Education Director at National Gallery (1970-72). Author of The History of Painting in Canada (1974). Anne Trueblood Brodzky (b. 1932) - Af~er doing her Master's at the University of Washington on the imagery in Edmund Spenser's poetry, in 1965 became Curator of Education at London Regional Art Gallery. Took over editorship of magazine during 1967 and continued there until its end in 1982.

9. Alan Jarvis, The ThinIs We See - Indoors and Out, (Harmondsworth: Penluin, 1947), p. 2. The phrase, "The things we see", seems to have had strong encompassing power for Jarvis, as he used it as the title for both a newspaper column and a television show he later had.

10. Jarvis, p. 38.

Il. Albert W. Trueman, A Second View of ThinIS: A Memoir, (Toronto: McClelland and Stewart, 1982), p. 132. ,,- 12. In 1943, Walter Abell met with Grierson to diseuss a program for the integration of art and society. Abell identified four areas of interest, 1) the campailn uses of art, 2) the creation of emotionally sustaining environments, 3) recreation, and 41 thp expression of democratic social ideals. In a letter to McCurry about the meet~ng, Abell wrote that, "Of the four, Grierson had only envisaged the first of thpse." For Grierson, it appears, education was a kind of helpful propaganda and propaganda a directed education.

13. American critir. Lucy Lippard has defended certain kinds of advocacy art against the charge of being propagandistic, by urgu i ng tha t propaganda i9 simply a form of ed11cation.

14. Harold 1nnis, The Idea File of Harold Adams Innis, ed. William Christian, (Toronto: University of Toronto Press, 19HO), p. 39.

15. Harold Innis, The BIas of Communication, (Toronto: University of Toronto Press, 1951), p. 213.

16. While writing this 1 received an invi tation from the Montreal Museum of Fine Arts' Education Service to join the "Esso Sundays at the Museum" program which, "to mark the Paul­ Émile Borduas retrospecti ve ••• is offering creative aetivi tie!=l and games guaranteed to amuse ••• taking your inspiration from contemporary works, disco~er the boundless possibilities offered by a plain white surface. Fill it up, make it live, ({ive it rhythm .•• for the whole family."

17. At a conference called "The Artist and the Museum", held in Ottal.Ja in May of 1988 on the occaSIon of the opening of the ne 1... Nationa l Gallery building, Vancouver artist Jeff Wall cnlled for exhlbi tions to be designed wi th "children, especlally unhappy children, in mind." Vera Frenkel, one of thr participants, suggested the opposite - exhibitions should bp (h~Sl~ned for adults, but aren't.

1 H. Rn 110 ~1a.\·, Th p Courage to Crea te, (New York: W. W. Norton, 19i:'}) 1 p. 7;.

1!)' ., Ife i '\' III zn t ion May be measured by the tolerance of unintelllglbllIty, its capacities are weakened by monopolies of knowledge bu.!l t up in the sarne political area using the Hl\m(~ Janguage." Harold A. Innis, Empire and Communications, (Toronto: Unlv. of Toronto Press, 1972), p. 163.

20. On two occasions, at hiS retIrement as director and at his dl'Il th, Il.0. McCurry was honoured in the magaZIne wi th articles 011 hl s cureer. In both 1 nstances the authors stressed his extl'nSlOn serVlce innovatIons - the wartime silkscreen print p,'ograffi, 1 ectures and brr dcas ts, touring exhi bi tions, etc. and hlS contributIon to tle promotion of Canadian artists abrolld. St~P C:wariian Art., Vol. XII, No. 3, Spring 1955, pp. 118-t:2::: und Vol. XXI, No. 4, Julr/August 1964, p. 193. 47 21. John Szarkowski, Mirrors and Windows: A.erican Photo.raphr sinee 1960, (New York: The Museu. of Modern Art, 1978), p. 15.

22. Harold Rosenber., Edueatin. Arti.ts, in The De-Definition of Art, (New York: Collier Books, 1972), pp. 41-42.

23. Hannah Arendt. Between Pas t and Future, (Harllond.worth: Pen.uin, 1977), p. 203.

, . l ( 48 Chapter IV - The Periodical Mediua

"The manipulation of space is at the heart of t)"po,raph)". "1 - John R. Bi"s It is one of those historical con,ruencies that the first

appearance of an art journal, in German)" in 17551 , should be in the same place and at about the same time as the establishment of the autono.ous discipline of art as found in such works as Baum,arten's Aesthetic (1735) and Winckelmann's

History of Art (1764). The eighteenth century also sees the provIsIon of the necessary 'external' material conditions and discursive institutions for the support of the putative 'autonomy' of the aesthetic: the institution of 'aesthetics' and 'art history' as independent disciplines; the ,rowth of the Academy, notably differing froID the former . artisans' .uilds in that it inducts its candidates into philosophical, as weIl as technical, discourses; the expansion of the institution of the public exhibition (exemplified by the Salon), the .rowth of periodical literature, and the emer,ence of 'critics' as an independent professional class. 3 To these rnaterial conditions must also be added the developrnents in printing technolo.y, the expansion of the domain of publishing and the rise of illustrated journalisme In the history of artscanada, we regularly find concerns, anticipations and ambitions for the institution as a publishing venture, that is to sa)", as a periodical for the diffusion of art, and as a producer of printed work. For most of its existence, the magazine's parent organization was "The Society for Art Publications", a ti tle which reveals the ( institution's sense of its mandate. The simple, apparentl)" neutral act of printinJ itself and a determined interest in 49 typography, graphie desi.n and experimentation, run throu.hout

the story as the material base for the ma.azine's aelf-

justification and for the worth of its effects •• The ma.azine

would be, even if it were nothin. else, at least a fine and

considered object. s

But the concern for the quality of itself and its

reproductions, its worth as printed matter, was always Joined

with its effectiveness as a medium for the promotion of art

and artists. While the new risin, cadre of art bureaucrats

could attach importance and virtue to the construction of such

necessary elements of the support apparatus, it remained

problematic for artists themselves. If, as Herbert Read wrote,

"The modern artist is miserably dependent on the media of

publicity. That is his deepest humiliation."I, art supporters

could focus on and even celebrate that same dependency. "The

way ta go about correcting the situation is to do very

practical things ••• That means we have to deal with publishin.,

the media, criticism, and aIl those other aspects which are

strictly practical."7

For the Massey commission, publication was cited as a means

to replace itinerant lecturers. For educational work, "A number of or.anizatioDs mentioned with enthusiasm the succesful magazine Canadian Art, a National Gallery publication begun in 1942 (SiC)."1 To the usual Canadian media analysis (overcomin. geo.raphic distance), the Massey commission .ave publication the added task of overco.in. 50 cultural disparity and une ven modernization. The most appropriate figure to discuss at this time would be Paul Arthur. Arthur is a self-trained graphie designer who learned his craft while working for Graphis, the Swiss design magazine, in the early 1950s. When Alan Jarvis became director of the National Gallery in 1955, he had Arthur come to Ottawa to oversee the design of the Gallery's publications. As there was no money in the budget for this position, Jarvis persuaded Joe Hirshorn, the mining magnate, to subsidize Arthur's salary. In a pattern that Keppel would have recognized, Jarvis' individual concern for good graphics is added to the mandate of the Museum throu.h the intervention of private philanthropy, and then continues afterwards to be maintained as a publicly supported pro.ram. In its first year of operation, 1957-58, the Canada Council gave Canadian Art $30,000, payable over three years, to change its physical format by enlar.ing its size and going from being bound by staples to a glue binding. The magazine's frequency remained, for the time being, what it had been, quarterly. With the first newly formatted issue, in January 1958, Arthur joined the magazine, then still edited by Buchanan and Ayre, as Production and Art Director. Up till then, the physical layout of the magazine had been mostly prepared by Buchanan and Kathleen Fenwick, who was Assistant Editor as weIl as ( Curator of Prints and Drawings at the Gallery. Arthur brought to the magazine not only a new appearance, 51 but focussed the magazine's interest on ,raphic and industrial design, an interest that had always been there. But .ore than that, he folded a desi,ner's perspective into the .a,azine's vision and provided, thus, the Most radical re-definition of art and the artist that the aalazine ever offered. And, as should not be surprisin,. this orientation determined the manifest content of the publication and its internaI operations. As a teehnician of the si,n, Arthur believed in the power of solutions, particularly graphic solutions, to whatev~r problems the magazine encountered. Sometimes a for., sometime. a person, the Solution would become an extreme focus of his plans until it (or the person) would be found failing. Ever hardworking', Arthur considered the ma,azine, despite its deficits, subsidies and strained resourees, to be "run like a business." Yet while calling for the standards of commercial practiee, Arthur in fact displayed a near reckless expansionary style and an unbusinessmanlike disrespect for an accuaulated deficit. 1G When that once reached $35,000, Arthur mimicked C.D. Howe and dismissedly asked, "What's thirty-five thousand?" Peter Dwyer, Associate Director of the Canada Couneil, told the Society that if they wanted more money,

Arthur would have to '0. 11 Dwyer was joined in his estimation of Arthur by others like art historian R.H. Hubbard who considered both Arthur and Jarvis over-ambitious and incapable 52 of executin, their plans successfully. Any contemporary ma,azine exists within an environment of journalism, whieh is a species of commerce. In the early sixties, John G. McConnell, the publisher of The Montreal Star, who had been a substantial donor to the ma,azine, .ade Paul Arthur an offer. McConnell would increase the level of his donations and provide accounting, production and editorial

help (Frank Lowe of the Weekend ~a,azine joined the advisory council). Arthur welcomed aIl this. But, McConnell also wanted hi 8 young wife Elspeth to be on the staff, and Arthur had to accept her, too. Elspeth McConnell became Associate Edi tor and brou,ht to the " -1.. magazine the perspective of a mass circulation ma,azine editor. She wanted Canadian Art to be perky and excitin,. She a180 wanted i t to be understood by aIl, and wished to provide in the writin, those qualifyin, and descriptive phrases which presume no previouB familiarity on the part of the reader with the subjeet at hand. Arthur lampooned this as, "William Shakespeare, the well-known English playwright ••• " They fought often, with Mrs. McConnell shoutin" "1 ca.e with the money!" and Arthur pro testin. that the terms of the bar,ain did not mean her havin. authori ty over hi •• The relationship with the McConnells is indicative of several pressures. First, it shows how small non-profit ( organizations ean beeome dominated by signifieant donors, a condition which, by itself, is neither .ood nor bad, for Buch 53 people can bring resources, coa.itment and strength whioh can overcome short-tera difficulties and crises. But in thi. instance, it highli.hts the .a.azine's troubled concern with means of popularization. Cultural policy favoured popularization, and academics were drawn to write for the ma.azine because it provided the. with a more popular forum than they could usually expect. But neither policy nor aeademies could invent a form of popularization as powerf"l as the MeConnells' mass media model of journalistic marketing. But Arthur's attitude to the magazine and its audience were not the attitudes of a good marketin. man. In hi. experimentation and deli,ht in the new, he was eonatantly disturbing the reader's expectatlons. Besides bis ,raphie innovations, Arthur was determined to re-lnvent the form of the periodical itself. He began in the mid-sixties the inclusion in each issue of a recordin., usually an interview. At one point this put their postal rate in jeopardy, and the authorities had to be persuaded that the records were "pressed" as in printing. In 1966, Arthur decided that the readership had become complacent and that the magazine had become an unread coffee­ table item. In a desperate manoeuvre to shake up the audience, or find an audience more engaged, the magazine was re­ christened arts/canada and its format radieally changed. In Januaryof 1967, subscribers received in the mail a transparent plastic bag within which were a record, a ( 54 broadsheet of topical items printed on newsprint called artscan, and a miscellany of illustrated articles, each printed separately on their own piece of paper. Each issue would have one major reproduction, suitable for postina. The whole package was enclosed in a folder which also served as the cover. Amon, the benefits cited for the change was its ability to control the necessary pacin, of production for each

segment of the magazine: the topical pieces (news, reviews~ notices) could be printed much closer to publication date, while the more lastin, contributions could be prepared in advance. In spatial terms, Arthur was attempting to take the magazine off the reader's coffee-table and have it spread ( throu,hout the home. The magazine would not sit still, but agitated for attention. While Arthur shaped the ma,azine's appearance, Barry Lord!. became editor and brou,ht to the content an a"ressive, contentious approach to art's responsibilities. When an art gallery was raided for porno,raphy, Lord not only re-produced the male nude in question, but hi,hlighted the penis with an arrow. Between Arthur and Lord, the magazine appeared to be tryin, to drive any of its ,enteel readers away. Letters of protest and subscription cancellation arrived. Circulation at the beginnin, of the year was approximately 10,000. While 6,000 old readers were lost, new readers ,ained broulht the ( circulation at the end of the year up to 10,500. Lord lasted six issues, and after a widely-publicized arrest for 55 protesting against U.S. President Lyndon Johnson at Expo 67,

he was dismissed.ll

Anne Trueblood Brodzky hecame editor in August of 1967, and

would remain so until the magazine's end in 1982. In the first

issue of 1968, the magazine reverted to binding. The ma.azine

would now only deviate from the norm when it seemed cailed

for. Except for the occasional fold-in spread, its

presentation would be high-quality standard. While the .raphic

form was meant to follow the editorial function, the

commitment to high publication values came to lead the

magazine. In Iater years, Brodzky would co.plain, "We have aIl

these pictures and sometimes our writers make no reference to

any specifie picture. We have to remind them."

In terms of time, the Arthurian sense of the magazine's

transient and ephemeral nature, that the ma.azine should be

consumed rather than stored, was replaced by Brodzky with a

sense of the durability of artscanada's production. During her

tenure, the thematization of each issue became a fixture. As

an organizing device, the theme provided a sufficiently loose

focus to bring together a number of various element~. And on

three occasions, the themes and the material were considered

sufficiently stronl to merit permanent book statua, and were

bound and sold as such after their appearance as artscanada numbers. l • ( 56 Notes - Chapter IV

1. John R. Biaas, Basic Trpo'raphr, (London: Faber and Faber, 1968), p. 53. 2. Anthony Burton, Nineteenth Century Periodicals, in The Art Press: Two Centuries of Art Ma,azines, (London: The Art Book Company, 1976), p. 3. 3. Victor Burain, The End of Art Theorr, (Atlantic Hi,hlands, N.J.: Humanities Press International, 1986), pp. 180-1. 4. The 40th Anniversary Issue ('244/245/246/247, March 1982) is mostly an anthology of previous articles, but amon, the oriainal material is an es say by Douglas Lochhead on the magazine's graphie history, "The Form of the Content: Design and Creative Stimulus of artscanada."

5. The magazine's production values were often a source of pride and acclaim. M. Grumbacher Inc., the artists' supplies company, had an advertisement on the back paae for nearly ~very issue of the maaazine produced. When 1 spoke with a Mr. Weaver, the president of the Canadian subsidiary, he admitted to me that he had no idea if the advertisements were at aIl effective in sellina ~roducts, but that he considered it a high quality prestige art magazine and regularly sent a copy of it to the art director at the U.S. head office, who was impressed with its production and thouaht that there was nothing like it in the States. In 1971 and 1972, the magazine won the Graphie Arts Award Competition of the Printin, Industries of America Inc. The O'Leary Commission on Publications described Vie des Arts and Canadian Art as, "beautifully produced by any standards." Report of the Royal Commission on Publications, (Ottawa: Queen's Printer, 1961), p. 64.

6. Herbert Read, The Modern Hpoch in Art, first published in 1949, reprinted in The Philosophr of Modern Art, (London: Faber & Faber, 1964), p. 18. 7. Naim Kattan, Writer needs his hoae audience, in The arts in Canada: Toda! and toaorrow, 45th Couchichin, Conference of the Canadian Institute on Public Affairs, (Toronto: York.inster Publishing, 1976) J p. 94. 8. Report of the Royal Commission on National Development in the Arts, Letters and Sciences, (Ottawa: Kina's Printer, ( 1951), p. 85. 57

9. Barry Lord recounts how on top of aIl their relular duties, he and Arthur often had to write exhibition reviews and publish the. under pseudonyms.

10. As a student at the University of Toronto, ~rthur produced (beautifully) the literary journal Here and No~. He is remembered for spendjna on it five times the money available and then leavina for Spitzerland.

11. Strictly speaking, officers of the Canada Council are not meant to attach threatening conditions to the grants. In fact, of course, support of institutions ia negotiated in covert ways.

12. Lord and Arthur made a curious pair. Lord has lone through a number of phases: countercultural in the sixties, somewhat Maoist in the seventies, he and Gail Dexter Lord are now independent museum consultants. One interesting overlap can be seen in the reciprocity between Arthur's semiocratic retrieval of commissioned art and Lord's identification of ail art bein. in some, usually unacknowledged and certainly more sinister, manner commiasioned. His The History of Paintinl in Canada: Toward a People's Art, (Toronto: NC Press, 1974), is an account of the suppression of indigenous culture on behalf of colonizing powers, by way of local "compradors." artscanada is condemned for havin, a board dominated by the Eaton family and, despite public funding, not payina artists reproduction fees (p. 161).

13. Lord himaelf his firinl had a different cause. At that time, the Eaton family were subatantial donors to arts/canada. Roloff Beny had recently come out with a Centennial celebration book To Everythin, There ls a Season, which had been substantially funded by John David Eaton (see Judy LaMarsh, Memoirs of a Bird in a Gilded Cale, (Toronto: Pocket Books, 1970), p. 208). Lord disparaled the work in an artscan review ('108, May 1967, p. 8).

14. They were issues Vol. XXX, Nos. 5 & 6, '184/185/186/187, December 1973/January 1974, Stones, bones & skin: and Shamanic Art; Vol. XXXI, Nos. 3 & 4, '192/193/194/195, December 1974, An inquiry into the aeathetics of photo,raphYi and Vol. XXXII, No. 3, '200/201, Autumn 1975, The Canadian cultural revolution. 58

Chapter V - The Support and Appropriation of Art

"Whistler destroyed the popular confidence in contemporaneous art. It ia from this tiae that a graduai but continuous dwindling of the priees of modern pictures set in. "1

William Gaunt wrote the above in 1945, in his account of the

1877 Ruskin-Whistler libel trial. Ruskin had, in a review,

described Whistler's work as "flinging a pot of paint in the

public's face", and Whistler suede It was during this trial

that there was the famous exchange between the artist and

Ruskin's lawyer: "The labour of two days then is that for

which you ask two hundred guineas?" , "No", came the reply, "1

ask it for the knowledge of a lifetime."2 { Whistler won the case and won acknowledgement for the autonomy of art and the artist. 3 In recompense, the jury

awarded him damages of one farthing. Art had broken away from

its dependency on a public audience, and the public responded

with bafflement, derision, neglect and suspicion. "That the

doctrine of 'art for art'a sake' should be construed by the

public at large as an invitation to keep its money for more

material objects was almost inevitable."f

Yet, since the last war, in both the market and the arenas

of the "nationalization of culture"l, contemporary art has

achieved a form of acceptance and a degree of material

support, while the shadows of mistrust remain. One of the

implicit reaBons for art journals and criticism is to

{ distinguish the authentic from the false and to make ongoing

artistic activity, however incomprehensible, credible. 59 At the time of the Massey commission, the word 'culture'

still retained its rather arch connotation of a hi.hly

specialized, restrictive art activity. The normalization of

culture required the identification of art as bein. the

expression of a society in its entirety.' But post-bohemian

suspicion remains, and it proves necessary to overcome and

transform that suspicion, to control it by holding doubt in

abeyance and by bracketing the work in such a way that general

culture can absorb individual works without necessarily

ingesting its "errors" (or its truths). The reevaluation of

contemporary art which occurred when individual works become

gen~ral culture, permitted the State to bureaucratize it by

embracing art's extrinsic features as resource, as desi.n or

as national adhesive. Both art and artists become normalized

when art becomes understood in its similarity to acknowledged

goals. "1 think what it [the Canada Council] did was it allowed the idea of being an artist, made it a slightly less

irrational decision to become an artist."' It ~s a common form of government intervention to encourage tendencies and cushion speculation. In making the decision to become an artist easier, the government becomes identified with individual

initiative and artistic change, which creates an association with personal hope, innovation and progress.&

The post-war liberal goal of a non-coercive patronage (the arm's length principle), which can sustain work which May have limited appeal, is based on a number of premises. The state is t 60 t determined to support cultural activity in general, but must,

to do so, fund individual kctivity in particular - the first

has become an incontrovertible loal, the second remains, as

always, risky. By establishin. a quasi-autonomou8 entity like

the Canada Council, and then institutin. within the Council a

diffusion of the deeision-making sites (peer juries), the

state can take responsibility for culture in general and deny

responsibility for specifie decisions. ~ouehed in the language

of expressive and politieal liberty and the fear of

censorship, this approach also reflects an understanding of

creativity which repeats Arthur Lismer's injunction to child

art teaehers: the best thing to do is "leave 'em alone.".

If the process of reception repeats the stages of creation

in its attempt to find resolution to ambiguity and conflict,

then this f~rm of patronage situates the patron as arrivin.

during the "unconscious scanning" phase of construction, which

is the period when there is the greatest dedifferentiation and

freedom from choice •• Identifying work as bein, experimental,

for instance, allows such patrons to distanciate themselves

from the work while still supportin, it, they can choose

without judging. In the case of John Cale, he resented havin,

his music ealled "experimental", for he considered it to be

not the experiment but the result.

1 would like now to distinguish between two kinds of

.{ cultural support. The first kind 1 put under the general ~ figure of the patron. The patron is a discursive filure in 61 which support is given in full encounter, enaagement, asaent

and collaboration with the artist: coami8sioned art ls the

best example. 10 It asaumes that the patron ia equal to the

artist, provides, in Vera Frenkel's words, "the viewer who is

a peer. "Il

The other pole of the di vision ia the figure of the

collector. While collectina can be a profound aetivity, it is

charaeteristic of the collector to be s ilent, non-diseursi ve.

The aet of acquisition iB a simple "yes" instead of a "no", it

gathers work together BS so many "faets" of a collection, and

not as an anthology of voices. 1 a

By this division we can see that the Canada Council, in i ts " '.. pol icy "never to explain"13, is a collector of the art i t subsidizes and its annual report serves as a catalogue. The

Art Bank, which its initiator Suzanne Rivard-Lemoyne

envisioned as a "reservoir of art", serves like a marketing

board, an art pool, in price support and maintenance. It is

not J in my sense, a patron organization but a collector

organization and as Buch, non-discursive. Or, as an artist was

once described to me, "No one's ever heard of her, she's only

sold to the Art Bank."

How does artacanada enter into aIl this? Artista do and

artists make. The meaning and value attributed to the activity

and to the products is determined by the role and position of

the artist in society. The defini tion of this posi tion is

changeable and always at stake. In a to-and-fro motion, the 62

value of the objects refiect on the role of the artist and the

role of the artist casts meaning on the object. Mediatina

cul tural institutions are the si tes of this defini tional

negotiation and shape, throuah implici t and explici t

stra tegies, the form of the discourse. 1 t must be remellbered

tha t the institutions thellsel ves are also strugglina to form a

posi tion and their "products" operate similarly. The value of

an art maaazine is in i ts information, which is not just

content and certainly not just the art i t reproduces or

furthers. The commentary function of an art maaazine is

"about" art and therefore, following Bateson, is the

description and not the thing, and is of a hiaher logical

{ type. Art is the d&.tum of criticism (artists know this and

resent i t). Art journalism is basically the business of

description, in its widest sense. A photograph of a work is a

description of that work not only in its photo-information but

also in i ts situation is the photo in a school, in an

auction catalogue, on a postcard? In other words, the location

of a descr i ption adds to the tell ing of the object a t hand.

The application of criticism and description durina the

history of artscanada has mostly been as a form of promotion

and apologetic. Michel Foucault beaan his The History of

Sexual i ty wi th the startling suggestion that the major method

of sexual control since the Sixteenth century has not been

repression but inci tement.

1 would like to disenaa,e my analysis from the pri vi Ieges generally accorded the economy of saarci ty 63

and the principles of rarefaction, to search instead for instances of discursive production (which also administer silences, to be sure), of the production of power (which sometiaes have the function of prohibiting), of the propogation of knowledae (which often cause miataken beliefs or aystematic misconceptions to circulate).14

Thus, however necesaary it is to consider resistin. forms of restraint in culture, the forms of enhancement developed during the last half century are of a much more determining and limiting nature than suppression has been. What we have iB a triumph of Deweyism in the elaborate extrinsic frameworks of art support. In effect, the editorial shifts within the magazine have been changes in the arguments and positions for the justification of art.

For Walter Abell, art was the field for psyehologieal re- integration and social re-unification. Buchanan and Ayre held that art was incontrovertibly good and healthy, especially in its contribution of formaI elementa. As social tonie, art ia denied the seriousness of its potential risks and dangers.

The positions of Jarvis and Arthur were not entirely identieal. Jarvis basically operated as a broker between the practiee of art and the managerial class. He wrapped art simultaneously in both glamour and utility. While he demanded that industry reco.nize the power of art, the terms of that power were a combination of applied design and the allure of association with the model of old world aristocratie artistie patronage and fine taste. Arthur, on the other hand, offered the artist as a variety of expert, a teehnieian of the visual 64

world. What was remarkable about Arthur is that he both knew

and expressed that the loaical resuit of 8ueh a position was

for the re-establishment of the notion of the anonyaous,

medievai artisan of commissioned work. When he put photographs

of the industrial plumbina at the Toronto airport on the coyer

of the magazine, he ,ot protest from artists and patrons for

failing to use the resources of the magazine to promote

Canadian art as they understood .i t. 1 5

Wh en Anne Brodzky took over in 1967, the Arthur position had

reached its zenith with Expo 67. After then, the art which was

being produced was becoming less and Iess suitable for

analysis based on the work's design, appearance or easy

( integration. During her tenure as editor, Brodzky's

apologetics for art became increasingly foeussed on the

constant of the figure of the artist, and the description of

the artist's role became primarily anthropolo,ieal. 1 ' This

permitted a great heterogeneity of art to be brought together

under the themes whieh came to organize the issues. l ? This

pluralism allows diversity without conflict, but it is an

avoidance of conflict rather than its maintained tension or

resolution. Pluralism is the synchronic equivalent of

Bateson's stability ("how thin,s change while remainin, the

same"): i t is how things can be different and various while

remaining the same. The archetypes of themes and the shaman

role of the artist presented a mytho-poeic description of the {, function of the artist's activitieso Q

65 ... ,.. What aIl these assorted apololetics do is to provide

enhancement value to the work of art in an exchan,e. It ia

necessary to identify value in art when art is expected to

perform in a commodity exchan,e. Lewis Hyde in his book The

Gif't insists "that a work of art is a .ift, not a

commodity",11 and elaborates the ways in which lift production

and consumption must be distinguished from that of market

excha~ge. Hyde's approach should be broulht into the diseourse

of cultural policy, but 1 would go further and sug,est that

there should also be the acknowledlement of the ttheft

exchange'l. within the economy of art: that is, the ways in

which there are "unilateral exchanges", or involuntary

resource transfers without exchange at aIl. The history of art

is littered with unpaid bills and debts, with criminal

deviousness on the part of culture to steal sustenance from an

unwillinl general economy. Artists, of course, have been

subsidizing their own production aIl the way alon,. "The

economic reality of the case ••. is that the artists themselves

are the rea1 subsidizers of art in this country."IO Both sides

of the equation consider they are not letting for what the y

are giving. It should not be surprising that when gift and

thef't economies are attempted to be understood as market

economies, the discrepancies and contradictions foster

bewilderment and suspicion. Hyde recounts how the expression

tIndian ,iver' arose when the Indians who had liven lifts to

the Puritan settlers expressed their expectation that those ( 66 gifts should be, in turn, ,iven away a,ain rather than kept. 11

Samuel Martin's account of humanistic eivine in Canada, An

Essential Grace,11 survey's the history of reluctant

philanthropy in this country, and also shows how that when

there is givin, bein, done it is often neaotiated in the

language of enlightened self-interest or, in other words,

exchange. Art is a cost and the economy of culture requires

the entry accounts of and offerinf: what is being

given is not for Immediate or direct return, and the necessity

of giving is incontrovertible. Older cultures have established

traditions for which each ,eneration feels compelled to accept

responsibility. This imbues artists with a confidence (and

( sometimes an arrogance), that what they are doin, is worthy.13

The special issue on "The Canadian cultural revolution"ae

which Dale McConathy prepared (and which Timothy Porteous of

the Canada Council thought one of those issues which justified

artscanada's existence) describes our artificial support

apparatus and demonstrates the way in which we mimic a

compelling culture. "Great cultural chanees begin in

affectation and end in routine."ZS Skippine doubtful

pretension, which is only the pimply, adolescent staee of

becoming, we have gone strai,ht to dependable, comprehensible

bureaucratie routinization.

What the envisionment of art-as-industry or art-as­ ( entertainment does i8 to cast the art activity in a form that i8 not only comforting and familiar, but is also re8ponsive to 67 establ ished means of administration. Whether by state or corporation, we now have a manalement of culture which had only existed before in a crude way and in spotty incidence.

The ease in which mana_ers of the public sector can move to the private, and back a_ain, should tell us that at the crucial level of modes of operation there is probably not lDuch difference between the spheres. What mana_ers require of their working environment (that is, the or.anizational base plus the public or market which sustains it) is predictability, obtained ei ther through the anticipation of ordered change or the exercise of control. Appl ied to cultural Ila t ters, administrative requirements of predictability may not necessarily suppress, but it does encourage an indifference to the specifie content of any work and promo tes a functional interehangeability. By granting extrinsic purpose to art, such modes of support drain works of their internaI authori ty. As a distraction, irrelevant reasoning can impede clear vi sion so effectively that there no lon_er remains even a sense that something might be wrong or missing. ( 68 Notes - Chapter V

1. William Gaunt, The Aesthetic Adventure, (London: Cape, 1945, rpt. London: Cardinal, 1975), p. 110. 2. See Gaunt, pp. 81 - 96. 3. In some ways, the eonflict between Ruskin and Whistler continueR as the divide beween the vision of the artist as artisan or as dandy, between accessible art in a service role to society or incomprehensible art in eritical opposition. 4. Francis Watson, Art Lies Bleedinl, (London: Chatto l Windus, 1939), p. 57. This marvelous description and polemic on the material conditions of the living artist anticipated many of the arguments and terms of reference that would become commonplace during the following four decades. 5. See Janet Minihan, The Nationalization of Culture: The Development of State Subsidies in Great Britain, (New York: New York University Press, 1977), for a history of British cultural support during the last eentury and a half. 6. "'Culture' waB a word we tried to avoid, but, re.rettably, there is no synonym in the English lan.uage ta employ. Culture in French is a normal term, i ts meaning perfectly understood; translated into English it produces an uncomfortable self­ consciousnesB. But we had to think of 'culture', usin, the term in its proper sense; we were concerned with what we were doing in Canada to help our nation express itself. We had to ask ourselveB how the State can promote the welfare of our cultural resources without creating an artificial, hot-house atmosphere. But aid from the State in such matters is essential and, as we diBcovered in our inquiry, had been in the paBt most inadequate." Vincent Massey, What'B Past Is Prologue, (Toronto: Macmillan, 1963), pp. 451-452. Brooke Claxton, the first director of the Council, could not himself use the word 'culture': "Culture is a bad word .•• 1 have made speech after speech about the Canada Council without usin, it once." Letter from Claxton to R.M. Fowler, August 5, 1959, quoted in J.L. Granatstein, Culture and Scholarship: The FirBt Ten Vears of the Canada Couneil, Canadian Historical Review, Vol. LXV, No. 4, Deoember 1984, p. 445. 7. Geoffrey James in CARFAC News, Vol. 5, No. 1, Nove.ber 1979, p. 5. 8. For the most part, the creation of the post-war cultural ( apparatus in this country has been the work of Liberal Party ,overnments, and it should be possible ta read the structure as an expression of Liberal Party doctrine. Reginald 69

Whittaker's The Government Party: Organizlng and FlnanctT.!K-t.h!~ Liberal Party of Canada 1930-58, (Toronto: U. of Toronto Press, 1977), does not touch on these matters directly, hut his description of the change from local patronage to natIonal bureaucratie modes of redistribution, the Liberal effort tn identify with modernization and progress, etc. arp all apposite. "The deadening of politieal eontroversy, thp silence, the greyness whieh clothed political life ln the 1950s were reflectlons of a Liberal ideal of an apolitical publl.c liCe. In place of politles there was bureaueracy and technology." p. 420.

9. See Anton Ehrenzweig, The Hidden Order of Art, (St. AlbanH: Paladin, 1973), p. 46.

10. In Truth and Method, (New York: Seabury, 1975), pp. 78-79, Hans-Georg Gadampr remlnds us that in the past commissioned work was the norm, and that only after the emergence of thp artist as a bohemian, gypsy figure in the 19th century, is th!' ~rtist valued for his freedom and independence.

11. "1 have enormous in staying where one is and doin~ one's work as one can. it's Just that 1 need the other half; the viewer who is a peer. One gets a bit tired of inventing l the forms and then inventing the means of showlng them and then inventing the audience." Vera Frenkel quoted in John Nol'l Chandler, Vera Frenkel: A room wlth a view, in artRcanada, Vol. XXXVI, No. 2, ;228/229, August/September 1979, p. 8.

12. "[Gerry] Schwarz hegitates ta discuss his current collection's size or value, but he willin~ly talks of how hl' developed his eye for art. '1 never tl'led to study [the subject] or read books on i t,' he says. '1 wandt:'r around tht· gallerles in Toronto regular ly, just to see wha t' s goin~ on.'" Noelle Boughton, Thp Collect,or, The FlnanclIll POHt. Monl'ywlse Magazlne, September 1987, p. 44. Or, as Clempnt (]repnbl'rg put it, "You walk up to the pleturl~, or t.he plecp of sculpt.url', and you ta!{e your forefinger and pOInt." Art.Rcrlbl~, No. 10, January 1978.

13. As suggested ta the first Dlrector, Alhprt Trupman by Alan Pifer, once President of the Carnf~gu~ CorporatIon. Sep Albprt W. Trueman, A SAcond V1ew of ThlngR: A 1I'lpmolr, (l'ornnto: McClelland and Ste,.art, 1982), pp. 13B-139.

lL ~hchel Foucault, Thp Hlst.ory of S(>xunlI~ï'Ù~lm,~I_:__ Jn IntroductIon, trans. by Robert Hurlt:'y, (>.pw Yurh: \ Int:tj;(1' Books, 19H01, p. 12.

15. Canadll1n o.\l' t., \01. XXlr, No. G, If !Hi, ""ardl/'\r,r'l! I~H.;:'. Irl an editorlal "Indl\'lduallsm r',-'c'onSjr1prf',j , \rthur 111'·"'11,,'-,'''-, hm. the patron can hl" Il col lahor:.\t.or lanrj ('1 t,· .... th" D/'r',lrtll1/'Il! · l 70 of TranRport's program as a good example) and the deleterious effect of individual liberty on commlSSloned work.

16. DuI'lng thp Sixties and Seventles, there were two scholars whase work ~ave special place ta the artist, and were read clnscly by artists because of it. The first was Marshall ~Ic) uhnn anr! the second was Claude LévI-Strauss.

17. Tllf'1II1'8 arc the most. edi torial of devices as they subsume tndlVlClllaL works to serve as IllustratIons of the editor's chosf'n thf'mf>. "(jrea t ed I tOI' an art i st whose medium i s the work of a ther men." Ih ppolyte TaIne, quoted in Harold Innis, The IdNl Fil", (Toronto: Univ. of Toronto Press, 1980), p. 149.

18. Lel.JÏs Hyde, The GIft: Imaginatl.on and the Erotic Lire of Propprty, (New York: Vantage, 1983), p. xi.

19. Amonq the criminal descriptions of art are Theodor Adorno's "Art is an uncommitted crime", Edgar Degas' "A pULnter paints a picture with the same feeling as that with which Il crimlnal commits a crime", and William Faulkner's "If a wrLteI' has to rob his mother, he will not hesitate. The 'Ode to fi Grec i an UI'n' is worth any number of old ladies." NIetzsche descI'lbed the event of 'Inspiration' as taking but ( not asking who gives. James Joyce's artist figure Shem the Penman is a fraud, a thief and a spendthrift. As the GraC'ehopper says to the Ondt, "1 pick up your reproof, the horseg 1 ft 0 f a fr i end, / For the pr ize of your save 1S the pt'ice of my spend." F innegans Wake, (New York: Viking, 1959), p. 418.

20. RobIn Endres, Art and accumulation: the Canadian state and thp hllslness of art, ln The Canadlan State: poiiticai economy ~()lltIcal power, ed. Leo Panitch, (Toronto: Vniv. of Tùronto Press, 1977), p. 43;.

21. Hyde, pp. 3-.t.

2:.!. S,lmuel A. Martln, An Essential Grace: Funding Canada's

l!PI\J th ('arE"! Ect\lca t.lon, W.,.l t'are 1 and Cul ture, (l'or'onto: NcClelland At Stewart, 1985).

23. Rob~rt ~usil was supported by a group of professI0nal and bus IIlPS8 men who formed a foundatlon called the Musil­ Gesselschaft. "He accepted this arrangement as his due, for he \-'IHl Il bplLever ln pntrona~e as an oblIgation owed to the nrtlst, elther by the State or by anyone else .•• It 19 rl'COIIll t pd tha t he l il\ed ta keep check on the { enntrlbutor·s ... and W'ould, If it seemed necesary, ask why So­ .. and-S,) had nnt ~'et pn id up for the quarter." Foreword to H,)!J"rt ~llHnl, Th.,. Man \o,ïthout Quaiities Vol. l, (London: Pll'ud,...~, 19;9), pp. XXIX-XXX. 71

24. The Canadian cultural revolution: An appraisal of the politics" economics of art, artscanada, Vol. XXXII, No. 3, #200/201, Autumn 1975.

25. Ja.cques Barzun, The House of Intellect, (New York: Harper " Bros., 1959), p. 168. l 72 Chapter VI - Art and the Insti tutions of Art

..... human institutions are the sole means we have of keepina fai th wi th one another, whi le beiniE true to oureel ves. "The ul timate feature of the phenomenological institution of reflexivi ty is that i t grounds critique in membership and tradi tion. "1

The 'discovery' that our arts and culture are

communicatively mediated and that the mediating forms are

specifie, material and peopled historically has led to a

multitude of 'suspicious' critiques which seek to unmask

unacknowl edged forces and unveil hidden meanings. Wi thout

wishing to diminish the illumination of man y of these findings

and the necessary corrective influence of these negative

strategies, 1 would like to rephrase the condi tions of

( mediation and institution in a way which would maintain an

insti tuti on' s potential wi thout requiring complete cri tical

capi tulation or the re-envisioning of institutional

'neutral i ty' or transparency.

1 f the previous chapter concerned the suspicion on behalf of

the general society toward the communi ty of contemporary art

and culture, then this section can be viewed as being

concerned wilh the 'internaI' suspicion between communi ty

members and the insti tutions developed to facili tate that

cul ture. While suspicion can be destructive, i t also provides

necessary vigi lance against error and corruption. My own

interest is to understand how good communication and the ( communication of the good can be furthered under conditions of suspicion. 73

First, we must acknowledge that institutions of mediation

have always been there - there is no possibility of a pure,

innocent experience of art that has been untouched by sorne

a~~c.ulated practice. Critiques which seek to rid us of m~~iation deny the source of thcir own knowledge through

institutions and the mediating institutions of their own critiques. It is a myth shared by both self-effacing

institutions and their critics that there is a possibility of an unschooled art waiting to be discovered in some neglected corner of the culture. As Ernst Kris and Otto Kurz elaborate, the figure of the artist whose talent appears under improbable conditions is an ancient and ongoing contribution to the

"heroization of the artist."2 What must be remembered ls that

it is a component of the art support institution's own mandate to make such discoveries itself, to appear to be ur.doing and renewing itself voluntarily in repudiating its own past failures and blindness. Within an institution-token, tbis shows itself in the way that individual actora express loyalty to the organization while disparaging their predecessors.

Implicit in any discussion of an insti~ution must rest ft basic condition - the phenomenological relation of 1 and Thou.

Listen to any speaker in a discussion of institutions and you can hear the murmur of a 'We' or a 'Them'. This identity is not necessarily determined by an actual working relationship - one can be wichin an institution but alienated from it just as one can be outside but feel in harmony with an institution's 74

being. Despite the language, l am not talking about or really

concerned with psychological states. We-and-Them establishes a

communicational posture and the state of your carina for the

pre-condi tions of the shared terrain of encounter. This

harkens back to my introductory remarks about hermeneutics

being biased toward the preservative. What this also says is

that hermeneutics is not only a descriptive procedure Îor

analysing a thing to be studied, but that it also establishes

the ground rules for active and practical participation in the

commons of our institutions (if they are, in fact, ours.)

The peculiar contribution of understanding in the human studies 1 ies in this; the objective mind and the power of the individual together determine the mind-affected world. History rests on the understanding of these two .3

Di 1 they' s advice in overcoming historical distance through

retrieval and reconstruction in encounter, and that there is

more that is similar between us than different, or familiar

than unknown. can be applied synchronically and spatially in

institutional discourse when we make claims to speak within an

institution on the basis that we share the same terrain.

Vet, i t has become the habit of both institutions and their critics to see institutional activity as predominately the exercise of power, and, for the language of analysis of that power to be mechanistic. In an advertisement in the British

Studio Internat ional in the early Seventies, artscanada described itself as "great", "authoritative" and "exercising considerable influence upon those who have to keep abreast of 75 what is happening in the visual arts.".

Meanwhile, Hans Haacke in his work in Framina and Bein,

Framed,5 sets out a critique of artworld institutions, like

the gallery and the Museum, by describing them as nexus of

orthodox authority, explained in terms of Galileanlike forces

of power and extra-aesthetic influence. Thue, the necessary,

insightful and reflexive awareness of the framework of

artistic production, such as Bertolt Brecht's "apparatus" or

Daniel Buren's system boundaries, to give two examples5 , is

reduced to a description of the uni-directional application of

causal determination. In the seventies, it was commonplace to

critique the commercial artmagazines' financial dependency on

gallery advertising as proof of complicity. artscanada, as

government-subsidized, was tarred with another brush: that its

perspective was of the power of the State, if not of the power

of commerce.'

In the gatekeeper model, the position of editor, whatever

the source of taint, is identified as an agent of suppression

and exclusion. In the finite availability of magazine space,

the attention or neglect distributed to individual artiBts iB measured and discrepancies and injustices are drawn out. AIso,

the magazine's more systematic refusaI to acknowledge broader

trends, schools or movements iB offered as evidence oi a limited critical capacity and an excluBionary narrow point of view. Greg Curnoe dismisBed artBcanada as being bad, unread and American. ( 76 Some people think the major exposure for artists in Canada is throuah the art magazines. This is totally false, because most people don't read the art maaazines, and most of the art magazines aren't any good •.. The major English-language magazine, artseanada, doesen't really eater to the Canadian public or to Canadian artists. It draws a larae portion of its authors from the United States and, under the pretext of beeoming international, has attempted to move into the American market.'

While he had written for the magazine, and his work had

often appeared in it, for Curnoe artscanada's population of

readers, writers and market were alien. Spatially, in the

circle defined by the magazine, Curnoe stood outside.

Definitions of openness and exclusion, of inside and

outside, are central to institutional analysis. But it is

particularly pertinent when speaking of agents of culture. The

vocabulary of culture is bound up with its historical and

etymological source in agriculture and cultivation. It is only

natural that in an inhospitable terrain where the major fear

ie scarcity, that the dominant bias would be toward growth and

expansion, toward the fecundation of art. Openness is

lncrease.

But in aIl this talk of fertility, there is forgotten the

notion of 'husbandry', of pruning and excising, of editing.

The husband, said Meister Eckhart, "keeps evil from the door."

"No symbolic order operates without its ideology of what is

interdictory .... knew, no less weIl than his Pharisaic

opponents, that culture demanda a narrowing of ( possi bili ties. "I

Understood as the 'commons' of cul ture, 111<., t , t IJ' 77 describe a terrain both limiting and providing, supporting and

constraining. Successors can claim the power oç its memory and

tradition, but the institution is not infinitely malleable,

and will determine the shape of its participants' efforts.

The post-Duchampian artist naturally will no longer be interested in continuin. art formalism but in questionin. the very nature of art. That is to say since one cannot change anything in the room, it becomes necessary to try and change the room itself, or to leave the room entirely.lo

As noted in the previouB chapter, the dominant organizing

element of the Brodzky period of the magazine was the figure

of the artist as shaman, and the underlying descriptive model

was anthropologicsl. Anthropology, as "the study of culture

from the outside", 11 is a troublesome and perhaps

untrustworthy guide to the construction of a cultural discourse from the inside. The very tools whiah permit

anthropological distance would prevent engagement from within a compelling culture. As soon as you can calI something a myth, i t no longer is. are (in Bateson' s phrase) "hard programmed" and inaccessible to the conscious. A myth cannot be simultaneously examined and believed.

And in the case of artscanada, the anthropology to which it gravitated was not just any, but a particular kind of relativist and comparative anthropology, and more specifically, it was the anthropology of Joan M. Vastokas of

Trent University.

Vastokas first appeared in the magazine with an article on

Eskimo graphics in "The Eskimo World" issue of December , 78 (. 1971/January 1972. 11 She continued to contribute articles on

such topics as native and contemporary art, architecture,

museums and until 1979. She also worked on bebalf of

the Society for Art Publications as a Member at large, a

director, and at one time Chairman of the Society, right up

until the end in 1982. A description by her of the magazine

wes used to promote Eubscriptions. 13

In a 1978 article on Raymond Moriyama's Metropolitan Toronto

Library, Vastokas included a primary statement on criticism.

"By what criteria," she asked, "does the critic dare to

measure the object of his contemplation?" She goes on to

respond to her question by stating her "view" that the .'... critic's raIe ls "a responsible and creative one," in which the cri tic "is obliged to engage in the responsible discussion

and weighing of values."

To that end it is the responsibility of the critic to reveal the criteria by which he makes his judgement, his perceptions of the role of architecture and of criticism and, as weIl, something of his personal value system. The latter is essential if the reader is to make an informed acceptance or rejection of the assessment. What is needed is an informed public, one which no longer leaves the talkinJ to the "experts," but asserts itself to make judgements on the basis of aIl available facts. l •

In this formula, a judgement is a value applied to a facto

Necessary self-reflection on the part of the cri tic is used to

provide a self-labelling. Discussions become arguments between

such "selves", and aIl criticism becomes ad hominem. The pre- l ! judgement of "value systems" establishes terms of dismissal

( "acceptance or rejection"), which makes dis-engagement easier 79 and encoura,es deafness and exit. Such a partisanship of

knowled,e su"ests that you can only learn from those with

whom you already agree.

In anthropolgy, such relativism, fuelled by Western guilt,

provided a way of correct in, the arrogant assumptions of

developed investi,ators in an undeveloped world. But as

Charles Taylor, among others, has argued, it is a false

solution to the problem of cross-cultural encounter.

Aren't we unavoidably committed to ethnocentricity? No, 1 want to argue, we are not. The error in this view is to hold that the language of a cross-cultural theory has to be either theirs or ours. If this were so, then any attempt at understanding across cultures would be faced with an impossible dilemma: either accept incorrigibility, or be arro,antly ethnocentric. 15

"Theirs or ours" echoes the Them-and-Us of institutional

suspicion. Vastokas' formula fixes the differences between

"value systems" and makes them incommensurable. It should not surprise us that it also fosters the kind of sullen defensiveness which the magazine offered the world when it was ultimately threatened. Between 1978 and 1982 there appeared a number of editorials which are clearly the work of someone operating under threatening conditions. ll

Hermeneutics, on the other hand, suggests ways in which communication within and through an inntitutionally mediated community can be understood interactionally as action guided by questions. Notions of institutional 'tact' and

'comportment'17 pro vide a descriptive orientation which has implications for criticism, editing, art making and viewing, 80

and the varieties of support positions. Cultural policy, based

on hermeneutic principles, would seek to foster encounters of

the most demandinJ kind. "It is not Just that he who hears is

a1so addressed, but there is also the element that he who is

addressed must hear, whether he wants to or not."l'

Authentic cultures do not have the voluntary nature of

market-like choice. The history of artscanada demonstrates the

ways in whieh through the application of inculeating imagery,

educational propaganda, pedagogieal familiars, economic and

industrial applications, technical glamour, or relativist

"openness", a culture of art has been attempted. But a culture

based on hesitation is vulnerable to ev~ry passin,

justification. The shifts and changes in regulative

enhaneements and eultural-aesthetic rationalizations mark the

instability of the extrinsic support institutions.

If those institutions are "commons"-like sites of encounter,

and ofrer discursive membership, then their instability is not

a threat to sorne instrument which has lost its utility, but

threatens us by diminishing our opportunities to participate

and engage in partieular discours~s. "Art deli very systems"

May be judged by their efficacy, but to judge true

institutions is to judge ourselves.

(, 81

Notes - Chapter VI

1. John O'Neill, Sociololyas a Skin Trade: Essays toward a reflexive sociololY, (New York: Harper. Row, 1972), p. 234.

2. Ernst Kris and Otto Kurz, Le,end. MY th. and Malie in the Imale of the Artist, (New Haven: Yale University Press, 1979), p. 26.

3. Wilhelm Dilthey, Pattern and Meanins in History, ed. H.P. Rickman, (New York: Harper & Row, 1962), p. 111.

4. Studio International, Vol. 181, Number 934, June 1971, p. viii. Also mentioned is that "although completely independent and autonomous, it is the art malazine of its nation."

5. Hans Haacke, Framin. and Bein, Framed: 7 Works 1970-75, (Halifax: The Press of NSCAD, 1975).

6. "This muddled thinking which overtakes musicians, writers, and cri tics as soon as they consider their own situation has tremendous consequences to which far too little attention is paid. For by imagining that they have lotten hold of an apparatus which in fact has got ho Id of them they are - supporting an apparatus which is out of their control, which is no longer (as they believe) a means of furthering output but has become an obstacle to output, and specifically to their own output as soon as it follows a new and original course which the apparatus finds awkward or opposed to its own aims ••.. And this leads to a general habit of judlinl works of art by their suitability for the apparatus without ever judging the apparatus by its suitability for the work. n Bertolt Brecht, The Modern Theatre is the Epie Theatre, in Brecht On Theatre, ed. and trans, by John Willett, (New York: Hill and Wang, 1964), p. 34. "This petrifying machinery leaves practically no posslbility of escape from its trademark by reducing everything to the level of art •.. So mu ch so that nothinl will be labelled art unless it has been put through the test of the Museum. This entails that, nowadays, there Is no salvation outside of the Museum for anybody who wants to prove that his work is art. It also entails that there is no salvation inside the Museum for anybody who would want to prove that his work isn't art. In other words, a radical questioning of art is, strictly speaking, forbidden to anyone, due to the strength of the institutions governing it." Daniel Buren, Reboundin,s, (Brussels: Daled. Gevaert, 1977), pp. 42-3. In The Parer,on, October, No. 9, Summer 1979, pp. 3-41, Jacques Derrida elaborates the ambiguous terrain of "the frame", as that region between the work and its surroundinls which is part of both and neither. ( 82 7. As part of a special issue on art magazines, Studio International sent to a number of ma,azines a questionnaire with such items as, "Who owns you?" , "Do you support a partisan area of art activity, or re.ain open to every new development?", etc. artacanada replied with a photo,raphic ,roup portrait of the editorial and production ataff. They were considered not to have answered. Jennifer Oilie, editor of only paper today, did reply, and spent .ost of her response castigating artscanada for drainin, away auch a large portion of available funding and for bein" "more or less an official organ .•. of official Canadian culture." See Studio International, Vol. 192, Number 983, Sept/Oct 1976, pages 145 and 177.

8. Greg Curnoe, Quantity. quality now characterize our visual arts, in The arts in Canada: Today and tomorrow, ed. Dean Walker, (Toronto: Yorkminster Publishing, 1976), p. 76.

9. Philip Rieff, Freud: The Mind of the Moralist, 3rd ed., (Chicago: Univ. of Chicago Press, 1979), p. 376.

10. Ben Vautier, quoted in Fuse, January 1980, p. 125.

Il. In the three chapt ers which make up the last part of Tristes Tropiques, Claude Lévi-Strauss discusses the spatial ambiguities and contradictions ensnaring the Western anthropological investigator (New York: Atheneum, 1970, pp. 373-398).

12. Joan M. Vastokas, Continuities in Eskimo ,raphic st~, artscanada Vol. XXVIII, No. 6, '162/163, Dec 1971/Jan 1972, p. 69.

13. "For the art historian as weIl as the anthropologist, a major value of artscanada is that it has recognized the universality and cultural relativity of art. In doin, 80, artscanada is one of the few journals on the visual arts to view the arts of non-western and native peoples as weIl as contemporary trends within their past and present cultural context." artscanada Vol. XXX, Nos. 5 1: 6, '184/185/186/187, Dec 1973/Jan 1974, and elsewhere.

14. Joan M. Vastokas, Architecture. Meanin, and Values: Moriyama, artscanada Vol. XXXV, No. 1, #218/219, Feb/March 1 9 7 8, pp. 26-2 7 •

15. Charles Taylor, UnderstandinB and Ethnoeentrieity, in Philosophy and the Human Sciences - Philosophieal Papers: 2, (Cambridge: Cambridge University Press, 1985), p. 125. 83

16. "This continuity will be accomplished by people dedicated to the preservation of this country's oldest art magazine and, one is tempted to say, will occur in spite of the actions of sections of the media whose inaccurate criticisms and innuendoB, to put it mildly, see. directed at impairin. the continued survival of artscanada •••• "The pernicious effect of malicious criticism whether at & national art magazine conference or more recently in magazines and newspapers cannot be discounted. Forces that are impelled to organize an event or write articles whose apparent purpose is to impair the credibility of an institution that is internationally recognized, basing their criticism on the amount of funding it receives or the country of origin of the people who produce it, have obviously read but not understood the history of the past 60 years." Anne Trueblood Brodzky, On keepin, open, artscanada, Vol. XXXV, No. 3, '222/223, Oct/Nov 1978, p. ii.

17. Hans-Georg Gadamer in Truth and Method (New York: Seabury Press, 1975), p. 16-17, discusses Helmholtz's concept of 'tact' within a "community of sense." Brian O'Doherty's Inside the White Cube: The IdeololY of the Gallery Space, (San Francisco: The Lapis Press, 1986) decries the way in which the gal"lery space controls viewer "comportment." "By the 'principle of courtship' in rhetoric we Mean the use of suasive devices for the transcending of social estrangement. There is the 'mystery' of courtship when 'different kinds of beings' communicate with each other. Thus we look upon any embarassment or self-imposed constraint as the sign of such mystery." Kenneth Burke, A Rhetoric of Motives, (New York: Prentice-Hall, 1952), p. 208.

18. Gadamer, p. 420. 84

Conclusion

"Public institutions need a systematic, organized process for abandonment."l - Peter Drucker

In its last years, artscanada was in a constant financial

crisis. The commitment ta quality colour reproductions and

fine format, while its circulation remained around 14,000,

meant high production costs per individual copy of the

magazine. The largest recipient among art ma,azines of Canada

Council funding, as its appearance became more erratic and

less frequent, it was vulnerable to pressure and criticism

from aIl sides. Because of the pronounced subsidization, the

question of the magazine's existence was publicly politicized ( and an open issue.! It had become legitimate for anyone to diseuss if artseanada should survive or be allowed to die. The

core staff beeame defensive and behaved as if under siege,

reclusive and withdrawn even from the institution's own board.

They sold off back issues and the archives. Some years before,

Alex Colville had e~pressed the thought that no one would miss

Canadian Art if it folded. When artscanada finally did

disappear in 1982, its loss was hardly remarked upon.

If, in Orucker's terms, it is proper for the existence of

publicly supported institutions to be constantly reviewed,

then we should expand our evaluations to include such notions

as Arrow's "code"; for with the magazine's demise was lost a

forty-year old code. The elements of that code include Abell's

( citizen-artists contributing to democratic communities;

Buchanan and Ayre's journalism transmitting the 85 significant forms of reconstructive industry; Jarvis and

Arthur's prestiae and power of contemporaneity; and Brodzky's

shamanistic artist within a non-compelling syste•• What

was also lost would be the ways, specific to itself, that the

code adapted over time. We will not now see how the code could

learn and change.

As a national, mainstream institution of "official" culture,

the magazine had to remain open to membership claims from

anyone. This May have been impossible, and in the end whatever

membership remained did not seem much to care. It has been

replaced, if not succeeded, by a number of journals more

specific in their focus and their audience, and which, though

distributed nationally, come out of regional bases. In terms

of specialized interest, for example, Photo Communique carries

on the photographic discussion which had always been

considered within artscanada's purview.

The new Canadian Art, started in late 1984, is a commercial

partnership between Key Publishers and Maclean Hunter, whose

George Gilmour, a longstanding supporter of artscanada, is on

the board. On and off over the years, Maclean Hunter had

coveted artscanada, and their participation in the new venture

is, indirectly, a continuation of that interest. Faced with

the same kind of difficulties that artscanada had, the new

editor has suggested that what the Canadian art Hoene needs

"', are excitement and celebrities. More than ever, art journalism

has the problem of having to straddle the domains of both art 86

and journalism, and the trends of the latter can come to

dominate the former.

Any art magazine serves as an historical record. Because of

its lengthy exclusivity, artscanada now represents an archivaI

trove of fact and opinion. As art historians begin their

examination of the recent past, the magazine has come to

appear more frequently in the citations. When Douglas

Fetherling assembled his anthology Documents in Canadian Art,

he remarked in the Preface that, "Readers will note and

perhaps be surprised, as 1 was, by the number of pieces that

appeared in the original Canadian Art and artscanada •.• The

publication ... is the repository of a great many major

statements. "3

The man y voices in the magazine represented an heterogeneity

and, sometimes, conflicts which resist simple portrayal. A magazine is not designed to be consistent and non- contradictory among aIl the material it includes. But 1 have

tried here to identify and describe the major editorial orientations and public positions the magazine held as indicative of the institution as an entity. And th en 1 have interpreted and evaluated those indications and suggested ways in which the y have been linked to shape our situation.

1 have, the reader will no doubt have noticed, employed 'we' and 'our' quite frequently. This is, perhaps, a wrong anticipation of commonality. But one of the principal features of this work i8 that it is an effort to analyse from the 87

- inside of what is beina discussed. 1 believe that it is

necessary, especially in matters of culture, to avoid

descriptions that are of others and from the outside. By

thinking and writing about artscanada 1 am participatinl in

it. You and 1 may weIl be very different, but are "You" and

"1" inside the same, however defined, community? It is one of

my contentions that such borders are always being established

and their placement between or around "us" makes aIl the

difference to the kind of communication available. It i8 one

of the aspects of artscanada's fate that when it stopped, BO

few felt that they had lost something personal to themselves. 88 Notes - Conclusion

1. Quoted in John J. Tarrant, Drucker: The Han Who Invented The Corporate Society, (Boston: Cahner Books, 1976), p. 263.

2. Amon, print journalisll appearances of reports \ln the magazine' s troubles and controversies are "Turnina 30" in TIMB, April 8, 1974, p. 10, "Survival strate,ies at artscanada", Saturdsr Ni.ht, June 1978, pp. 5-6, and James Purdie, "Gallery Reviews" , The Globe and Mail, February 17. 1979, p. 40.

3. Documents in Canadian Art, ed. Douglas Fetherlina, (Peterborough: broadview press, 1987), p. 5. 89

Appendix 1

Canada Couneil Funding

for artscanada

The relationship between the Canada Counci 1 and artseanada

can be considered to have been symbiotic, as each was a major

client of the other.

From the time of Elizabeth Wyn Wood' s essays of the forties,

in which she forwarded the means and the language in which the

government could encourage culture, to the conflic 4 ~ad

disappointment which ended the Council's fundin, of the

magazine, we can trace a patterll of interaction between the ( two institutions. When the Massey commission deseribed the Canadian scene i t mentioned Canadian Art as one example of

success fuI indigenous acti vi ty. The magazine, ·in i ta turn,

gave the commission and its findings detailed coverage. To the

extent that the commission was responsible for the founding of

the Canada Council, the magazine furthered i ts becoming. When

ultimately the Council did appear, the expansion of Canadian

Art was among i ts tirst projects. In turn, the Couneil eould

ci te the magazine as a worthy recipient of resourct:.~, as

fulfill ing that which the Couneil Has meant to support. The

magazine also provided a source of personnel who could be

drawn on to advise on art and art support programs, as in the

1967 Val Morin Conference on Art Information Retrieval. The

( Counci l, meanwhile, became for the magazine the attempt and

partial fulfi lIment of i ts own idea of the proper mechanism of 90

state patronage, and a regular topic of discussion, a concern

which culminated in the "Canadian Cultural Revolution" issue

(No. 200/201, Autumn 1975).

The following table charts the ri se and decline of a

relationship. In the end, the magazine accused the Council of

Interference and the Council considered artscanada incapable

of fulfilling i ts obligations. After nearly 25 years, their

mutual involvement had become too burdensome for both of them.

1957-58 $30,000

1958-59 $0

1959-60 $10,000

.... 1960-61 $10,000 1961-62 $15,000 """" 1962-63 $15,000

Block purchase of

Nov/Dec issue for

distribution abroad $825

1963-64 $15,000

1964-65 $15,000

1965-66 $21,000

1966-67 $30,000

1967-68 $75,000

Photography project $1,500

1968-69 "au plus" $55,000

1969-70 $60,000

consul tant for special issue $1,737 91 ( 1970-71 $75,000

1971-72 $130,000

1972-73 '115,000 1973-74 '126,500 1974-75 $145,500

1975-76 '160,000

1976-77 '180,000

1977-78 '200,000

1978-79 $160,000

1979-80 $144,000

1980-81 $130,000

1981-82 $0 { 92 Appendix II

Table of Articles

CalIIdiall Art

Vol. 1 No. l, Oct - Nov 1943 Vol. l, No. 5, June - Jul" 1944

Var GuestE of Canada: ATitian and a Jan Steen b, Art in tbe ROlll CIDadiln Au Force br Cbar leI Peter Brie,er Goldbaler Melican Art Toda, by Harr, Nayerovitch keconstrllction tbroll.b tbe Arts br Luren Harrl S The Arts in Great Britain in liartile b, Dou,lal Le Pan Vater Colm Annual bJ Nortbrop Frye Art and Science: Art as an Inspiration to Science b, Sculptol'. SocietJ Erhibition by Pale Tolps Hans Sel,e ASculptor lIeeta tbe Public by Bleanor 8arteaur Art and Science: Science IS an Inspiration to Art b, Are the lIoden "1111' Art? bJ Walter Abell Marian Scott Crafta in Conte.porar, Llfe b, Muriel Rose Vol. II,No.l, Oct-Nov, 1944 liar lndustrl Drawinls b, Muhlstoci and Brandtner b, liaI ter Abe 11 Gift to tbe Mat10n Bditorial COllent: Report of Prosresi Art Goes to Par IUlent b, Blizabeth Wln Wood Sericraph: Sin Hcrm Proeess as a Fine Art by Vol. 1 No. 2, Dec - Jan 1943-44 ADUonJ Velonis A Tribute to Walter Abell Bditorial COllent: liar Records for the Canadian Arll An Acon on Parlialent Bill The 64th Annual Erhibition of the ROlal Canadian An Ideal COllunit, Centre Acadel' b, Arthur LiSier, A.R.C.A. A COIIUDlt, Art Centre in ActIon by Ihebard B. Croucb Bousin, - AChallenge to Canada b, go G. Paludi Pictures ln tbe Schools b, Robert Arre Sili Screell Prints Bnllat b, Philip Surre, Czechoalovai Art Vol. II, No. Z, Dec - Jan, 1944-45 Sculpture ill the Garden b, Frances Lorill' Becordinc the Itolen', SerViCes br Pegi NICol MacLeod Vol. l, No. ;, Feb - March, 1944 The BonI Canadiall ACldel! b, Harlaret Tucrer PaintilllR Featured in Sc~ool Broadcasts Sietchinl on the Alaala Hilhva, by A.Y. Jaclaon Young lIanitoba Talel to Art b, Marion W. Abra A National Prolru for the Arts in Canada b, Elizabeth Tbe Anilated Fill in Canada b, Donald W. Buchanan IIYII lIood COI.unit, Art Centres - A Grawin, Hovelent Notell bJ Five Centuries of Dutch Painting in Montreal b, Arthur Lavren Harrl. and otherl LiSier Stanle, Courove bl Robert Alre Art Goes to the People in the United States b, Hol,er Glles of Qllebec in a Llvel, Mural Cabill Vb, Not Palntlnll AIso? An Artist on the Great Laies Waterfront b, Leonard Chr18tllli Cards frol an ArtÏlt 'B POint of VIeil br ÂVlI Hroois F,lhe

Vol. l, No. 4, April - MaJ, 1944 Vol. Il, No. 3, Feb - lIarcb, 1945

Canadian Arl' Art ElbibitiulI: An Editorial Review The Developlent of Paiatins in Canada b, John Alford rhe Acadelr and tbe Future of Art in Canada br L.A.C. Branl See. '.nadian Art b, DOlllld ". BucDlIIan Panton AdvertiBinl Art in Canada b, Allan HarriloD The Canadian Group of Painters . 1944 by Yvonne Modern Arcbitecture in Clnada br Hazen Slse Mch,ue HOUBler gli 17 Carr b, 1ra bilwortk rbe Problel of Distortion b, Walter Abell Art in Saskatchewan b, Jean Sranlon An Artist on the ltalian Front b, Capt. C.P. COlfort Sl8iatchem iDcomleJ COlluni tl Art br Edvard Parler , l 93 Artists and ~ealers bJ Robert Ayre, Paul Duval and Le Canadian Group of Iiaintera b, Gubll Hclnnes ROJ Zwicker The Archibald Pril:e Filht b, Ralph Warner PaÎlltinu For Hire b, Donald If. BuchauD Vol. II, No. 4, April • May, 1945 Vol. III, No. 3, March - April, 1946 Brhibition of Canadian Var Art 1 Love the Arl' by Holly Lllb Tva Veit Coast Artists: Official Canadiall Var Artist. 1: The Dravinu of B.C. Binlllng bl Doris Sbadbolt Grand Prir de Peinture 2: Jacr Shadbol t b, Char les H. Scott Bravo! La yalle by Robert AJre Vood Enlravinl bl Laurence B,de Choose Your Own JUrJ • Th lB Year' s Sprinl Show in A Note on Dravin' bJ iathleen H. Fenvici Hontreal A National Ballet for ClDlda bJ ialldolph Pattoll An Hle Cocred at Posteri tl by Caven Atiins Picture VrHine bl the Blacifeet Indians Frol Spmg Pever to Fantau bl David MilDe Visitor to Canada: Getrude Henel bl Robert Ayre Telt-Book Illustration ln Canada bJ Marab Jeanneret Cbules Pinson; Encraver on Stone by Henri Hasson Vour Cltl and You by Alan ArlStrong Vol. Il, Ho. 5, BUller 1945 Lort to Canada by Donald W. Buchanan Art· The Cinderella of the School Curricului by Canadlan Handlcrafts br Elizabeth V,n Wood Blancbe Snell DesIgn ln Industry • A Mlsnoler by Donald W. Buchanan I ThIni It's a Constable bl Robert AJre Vol. III, No. 4, JuIl 1946 A Verl Personal Art Theatre· Montreal '44-45 bl Gordon Vebber Conte.poran Trends ID Canadan Sculpture A New School of Design b, F.S. Haines Vby l Collect Canadian Paintinl b, Albert Jutras Art and the yeople by Doroth, Macpherson Tbe French Tradition in Publisbins bl LUCien Parizeau A Record of Total Var b, A. Y. Jacison Vol. rlI, No. l, Oct· Nov, 19H Frai Toronto to Von' s Bnd br Ernest li. Watson Banff School of FiJle Arts Rehabi 11 tatlon tbrough Art and Handicrafts bJ Anthonl Pellan versus the Bard bJ Robert Ayre walsh Canadian Arts Council by Paul Duval The Labor Arts GUlld bl Ruby M. Sutherland Grand Prix de Peinture LeMolne Fittlerald • Western ArtiBt A. Y. Jacison • ietrospectlve br Artaur LiSIEr Art 111 Nova Seotia b, LeRol Zwicier Desigll for Use by Donald W. Buchanan Planning wlth the People by Cnpbell Merrett On Vour Own Tlle Vol. IV, No, l, Nov· Dec, 1946 ACanadian Architeet Looks at His Profession bJ Fred Lasserre United Nations Exhibition Industrl u Terri fIc! by Frederici B. faflor A Report on Art in British Colulbia by J .L. Shadbolt An InternatIonal Erport by Theodore F.M. Newton Eric Brown: His Contribution to the National Gallery Recordins tbe Transition fm Var ta Peace bJ F. Maud BrolfD The Arts of French Canada by R. P. Richardson Vol. III, N,. 2, Jan· Feb, 1946 An Artilt vith B!ercÏBe MusioI bJ Eobert Bruce Be.t Foot Forllud iD Merico Goodrld,e Roberts bl Robert Ayre The MaBlU Collection by Bric Nellton Anony.ouB ArchItecture and Personal Paintin. bJ The Art Centre· A flouruhins PIant bJ Norah HUlpbrey Carver McCulIoulh Iceland • Atlantis on tbe Aretie Circle br Carl Wh Not TrI Paintilll at Nicbt? by J.S. Walsh Scbae fer The PlaDDh, of a National Capi tal bl Jacques Greber ( HenrI "asson by "arius Barbeau International Drall Festival bJ AudreJ St. DenJs New Patterns in Induitrl bJ B.W. Tbrift JohDson Researcb and Experilellt Desiln on Vbeels by George F. Drullond , 94 - Vol. IV, No. 2. Feb - March. 1947 Our ielatlon to Pnlitive Art bJ Doru Shadbolt fbe Dilippeari~1 Totel Pole bJ Hunter LevlB Arthur Lum by Robert Ayre Paiftter of ail {Iltilite lIorld by Doria Shldbolt The Vood-Cut in Colour bJ Valter J. Pbillipl, R.C.A. Tbe felchilll of Drawi!l( b, B.C. Hum. Rio de Janeiro - A Clrallen,e br Jacque. de ronnal/cour Paintilll for Pleuure Canadian Artiat in Lapland br Naoli Jacklon Vallted! Better Desllns for Canad lin POl tale Stllpl: Art on Rvery Doctor 1 1 Delà br Robert Ayre 1. The Artut', Point of Vieil b, Charle. CO'Ifoft Tbe Spi rit of Modern France bJ Martin Baldwin 2. How to Obtain Good DeBilDl by Donald Il. ~uci~lIln Direction: ACanadian fJpo,rapbic Idiol bJ Carl Daïr COllmtJ Art in Alberta bJ H.G. Ghde , A.R.C.A. The Design of Household Goodl! ~l Donald Uuchanu Heraldllli a lIev Group by JIIU W.G. Macdonald Vbo BulS COlltelporau Pautinu? bJ J.O. Turner Vol. IV, No. 3, MaJ, 1941 Vol. V, No. 2, Chrutus, 1947 rbe Faai II HOle by HUlphrer Carver Ontario Sode t, of ArtiBt. Tbe Min in 1 Clnoe bJ RIJ Alberton Seventl-Five Veau of Service by L.A.C. Panton TOI Tbolllon 1877 -1917 bJ Arthur Li ner AGreater Interest ln Huuni tl b, lIaruret rucker The Hart House Co Il ect 10n bJ Donald ~. Buchanan APoet and Paintins bJ Patuck Anderson New Murals bJ CmdlaDi Tbe Federation "eeh the Public br iobert AJre Var Artuts 1ft "Real Life' b, Andrew Bell Li thograph b, ". S. VfteatleJ The Nell Technique in Soft-,round Btchinl by Nicholas New Vine in Old Botties bJ Donald V. Bucbanan BorDJanBky Revinl of Britisil Paintin, bJ Kathleen V. Fenvick An Brceu of PruderJ b, Louis Muhlstock Report frOI Buro,e bJ Jou sim Introducinl Valentin Sblbuff by Robert Ayre The Callirl Art Centre by A.F. ley Desisn Indu b, Donald Il. Buchanan [Iportant Paintings frol the Bdward! Collection Acguired bl the Nation Vol. V, No. 3, lIinter, 194k

Vol. IV, No. 4, BUller, 1947 Governlent Support of the Art. ln Quebec CitJ Ind tbe Arta b, Jean-Paul Lelleur An Arti st to Vatch by Andrew Bell Art AI.oclation of Hontml by ko~ert Ayre Tbe Colour Dry-point bJ David B. Milne Recent Trends in Montreal Paintins bJ Paul Duus Vith Tri11im in Ber Ban bJ Peu Nicol MacLeod Are the ieal Folk Arts and CraCh Duni Out? bJ Hum ArtiBts and LlJun bJ Robert AJre Barbeau Towards a National Art School bJ Donald V. Buchanan AutOlitili Folk Painters of Chr levoil bJ Patrick Morlln D'une Certaine Peinture Canadienne Jeune ..• ou Child Art - The CloBinl of a Cbapter by Norah l'Autollti8le br Maurice Ga,non McCullough Art Schools in Canada bJ Kathleen H. 1108& Vol. V, No. 4, 8prinl - Suner, 1948 Tbe Proper Function of Advertisll. b, HemJ Bve lei.b and Cbar les Fainle 1 file Art GallerJ of Toronto b, Andrew Be 11 Prudence Heward by Bdwin B. Hollate Painter of 8mt John bJ Grab .. IIchm Notes frol a Beni,hted Maritiler bJ Lucy Jarvis Cbild Art in Canadl b, Norab McCulloulb The Observatorl Bu ..er School Wblt il Cbild Art? by ArUur ~i ..er LooHn. Forvard in Saint John bJ Aver, 8hlll Tare AIIother Look It Your li tcben aanle by Donald Il. Montreal IS ln Art Centre br Robert A,re Buchanln TJp0lrapbI Can Be CreatiVe bJ Car 1 Dm Vol. V, No. l, Oct - Nov, 1947 An Approacb to Book fJelllD bJ V. "olof! BenJ

Directions ln Bri tisb Colulbia Paintine Vol. VI, No. l, Autuln, 1948 Resional Trends in VeBt Cout ArcH tecture b, Fred Lasserre AdvertlBln, IJeai,n ln Canada by Clur Stevart rh! Art in Li viII' Group by Fred A. Aless The Vancouver Art Gallen bJ Dor 11 Sbadbo 1t

« 95

A Recent irblbltlon of Contelpor&rJ Mericln Art b7 PaintinCl frOI lait and Welt b, C. B. 3cott Ind LucJ Andrew Bell Janit Art and PllcbolnIJ b, H. Le~llnll, M.D. Can,dian Artiatl in Pari! bJ Allin Barrilon Hi,h Sehool Studentl Dutln Tertilu bJ G. Pai,e Pinneo Letter frol Mmco Vol. VII, No. l, Autuln 1949 Ilhat 1. IIronl IIItà Canldian Art? b, Barier Pairle, MetllOrpbosli of an Illle Tàe PaintinlB and Drawius of F.Y. VarIer bl Donald V. BucDlllln Vol. VI, No. 2, Cbr18tm, 1948 On HUilait, ln Canadian Art bJ Jacques de TonDlneour SOie Notes for Allteur Artuts bJ Harold lin, Luren Harr 11 - Betrospectl ve Brhibi tlon of Bi! TIIe POlBibihties lf Sili Scrm Reproduction br A.J. Paulin, 1910-1948 b, Andrell Bell Cauon, P.R.C.A. Tbe Pursui t of FOrl b, Northrop Fr,e A Nev lind of SUIler Scbool for Teacbers b, Jeanne Festival IIeer in Vancouver b, Charles H. Scott Varlith Parhn These Are the Ones tbe Elpertli Picied Art ln Newfoundland b, Robert AJre Tradl tion frai the Roof Dm b, lIatloll Salharrie TravelliDl Blbibitions - h tbe Publlc's Galll the D18hnlSb DUrJ b, Robert Ayre Artist'. Lou? bJ Pausieva Clarl, Paul-ilile BordullB. The Art Museui and tbe COliUDI ty by Robert T,1er Davis A.F. le" Nortb McCulloulb, J.L. Sbadbolt, Alel S. Le Mme de la Province de Quebee by Donald Il. Movat Buchanan Toronto as an Art Centre by Andrew Bell Vol. VII, No. 2, Christlls 1949 Man aDd Stone by Harry MaJerovi tcb Tvo Steps Forllard - One Step Bacillard b, Donald V. Tie Art of Parllken Clar. bJ Andrew Bell Buchanan Ernst Neulann Il a Painter bJ Goodr id,e Roberts Who OUlins CanadiaD Tertilea? b, Donald Rosser Vol. VI, No. 3, Sprin" 1949 Fine Craftsllnlhip aDd "1 .. Production Introducinl Manufacturera to Desuners by Donald W. The Canadian Group of Painters by Robert A,re BuchanaD An BBsay on Abstract pllntlnl b, Lawren Harris New Tldes ln West Cout Art b, Charles H. Scott The Praines Rediscovered by Calpbell TiDninl Converlltioll about Orozco br Stanley Coslrove and COlpletInl tbe Pattern of Modern LiVln, b, Donald Il. iobert A,re BuchAnan Coslroie Conducts Classes in Fr~ Towards Better Window DisplBYS by 8thel McNau&hton Nell Forls in Cludian Arcbitecture b, G.I. PoiornJ and Recent Braules of DOlestlc Architecture in Britilb C.D. Gibson Co lu.bu Pot-pourri on tbe Toronto Vaterfront by Andrew Bell Other COIIUr.1 ties Pleue COPI The Canadlan Society of Pllnters in Vater Colour b, Vol. VII, No. 3, Spring 1950 Andrell Be 11 Sarab Robertson 1891-1948 b, A.Y. Jacison Artbur LUler - Hil Contribution to Can,Qlan Art b, A.'. Jlcilon Vol. VI, No. 4, SUller, 1949 Lilier'. PlintiRI frol 1913 to 1949 ill ieviev by Andrev Bell 'he Canadian Fill Allards A CllIIdian Artilt in Merico br Leonard Broois Bxponent a f a New Arch tecture in Paint b, Donald Il. Pain ter of Sensitive Vi.ioD bJ Donald W. Bucbanan Buchanan The Difficult Art of Clricature b, Robert La Palle rbe Cmdlan Ballet Festival by Guy Glover Unli.ited 8elf-Brprellion - A CO.lent on SOie Recent An Exbibition of Canldian Sculpture bJ Andrew Bell PaintulS frOI the Uni ted States by Beatrice lorner Les Concours Artistiques 1949 Pell Nicol MacLeod 1904-1949 b, Donald W. Buchanan Vol. VII, No. 4, SUller 1950 Hell Buildinu on DisplaJ bJ C.H. Scott Llnolm CarYlni br Fri tt Brandtner Austrllir.n Art - SOie COlparisons b, ID Australian ib 96 ...... Canada Architectural COlpetitions - Can fhe, Help Us ta A Note on Critlc181 by Robert Ayre Obtain Better PubliC BUlldinll? Artist8 and Fill-likers b, Donald V. Buchanan The "ater Colours of Fred Ale •• br C.,rlel H. Scott A Fresh Brevit! of Fon b, Doria Sbadbolt Nurall in a Factorl by Robert Ayre A Debate on Public Art Galler! Policr br Lavrell Rarrh Vol. VIII, No. 4, SUller 1951 and R.R. Hunter rl"portant AcquiBi tlons bl Canadian GaUeries Report or the iOJal COlli.slon on National Developlent New Walls for Canadian Plintinu b, Andrew Bell in the Art., Letter. and SCiences bl Robert Arre fhe Ilnl.ton Conference - 'en Year. Afterwards by Vol. VIII, No. l, Autuln 1950 André Ble 1er Tbe Pederation Meets the ROJal COllllllon by DoriS An Illustrator Speaks bu Mlnd An interview with Olcar Shadbolt Caben Sllvla Daoust, Sculptor by Albert C.outier Art Schooh Aren't Necesmilz j,il b, Jean Silard Two Rllire "asters ln London b, Sl~~~:n Andrews Good Letterini - An Art to be Taulbt b, Sidney H. Wben Ballet First Cale to Canada Watson Towards a Personal Reaiisi - Alex Coiville by Avery Are You Satufied Illtb the Furniture You BUI? AReport Shaw on the Desilnlng of Canadian Furniture The OntarlO Collele of Art On Vlew br Andrew Bell A COllent on Caudlln FillS by Gudrun Parier Paul iane . A Sieaf of Sk~tcbes b, Kennetb B. Kldd 'es, Palotlng Hllht be Better in Toronto by Andrew Reflectlons on a COlpetltlon for Product Des lins by Bell Donald W. Buchanan Art in Montreal - Prol Good to Indifferent br Robert Tbe ROlal COllilllon - SOie btuets frol tbe Report Ayre Vol. Il, No. 1, Autuln 1951 Vol. VIII, No. 2, Cbristm 1950 Art and tbe RadiO Audlence b, Georle Robertson Washington Vlews Canadlan Art The Sei,neur of Lotbinlere - HIS 'Elcurslons Will O,Une - DlBclple of Fine Llne b, Andrew Bell Da,uerriennes" br Hazen Slze New Talent ln IllustratIon by Dick HerBey The Decline of Genre br Grahal "cInnes InterView ln Montparnasse b, Donald if. Bucbanan An Art Galler, for Collete Students by René üou~ Sculnture in Trees bl Andrew Bell Mural in a Bank by Charles COlfort Grain Rlevators and Wbeat Sbeaves br Charles Il. ACanadian ln Morocco by Plerre de Ll,n, 80udreau Lilbtbodl Tbe Prels Debates the Masse, Report by Robert Alre Can Furniture be Nade of Cardboard? 111 Joan Robinson Good Desi,n or "Stllln,' - the Cholce Before Us by Bebind the Scaffoldlni ACuhcal Preview of OffiClll Donald W. Buchanaft Arcbi tecture in Ottawa An Art Brperuent Along Indian Children br Anthony Vol. n, No. L, Chrutlll 195: Walsh Palnt.ln& a Plcture on ChrlstlaB Mornlnl by uavld B. Vol. VIII, No. 3, Sprine 1951 Milne Gordon MacNalara . An Bre 0 f Hl s Qwn b, Andrew Be Il Painters in "ater Colour - A Siiver Jubilee Brblbition "The "ouldl of Yirtue' - An "peet or Art KducatlOn bl by Andrew Be 11 J. Allison Porbes Acadelles b! AnJ Other Nale - SOie Provoiln, Weltern Palntin. COles to Montreal bl Robert Alre Observations b1 L.A.C. Panton, R.C.A. Younl Prench Palntera ID Montre\l b, "lcha~l Forster Creative Craftslanship in Jewellerr by Robert Ayre CaDadian Art in a 8011' Sehool by ~onald W. hucbanan Georeian Bal Le,acy br Cbarles COlfort, R.C.A. Mural of the Sa,uena, bl André Bleler Aleksandre BercoVl tch, 1893-1951 by M. Retnblatt Artiat. Do Their Own Chrlltlal Carda Shadbolt hplores a Vorld of ioots and Seeds br Donald New Acqullitlon. bl Canadlan Gallerlel Il. Buchanan The Artl Councll and tbe ~estlval of Brltaln b, AIllon Reflections on Canadlan Ballet, 1950 b7 Guy Glover Palier ( 97 JlpreSSlons of Art in tbe Soviet Union b, Fredericl B. Ind Frederick B. TI,lor Tallor MOili cs and Murals in Melico by Donald il. Buchanan So.e New Clnldlan Palnter. and Their Debt to Hans Vol. n, No. 3, Sprinl 195Z Boff.ann bl Joe PI •• lett Nell Rurals iD Canlda b, Donald V. Bucbanlll Tbe StorI 8eblnd Our Cover Wiat'. Vron, vith Art Bliibition8 in Canada? b, George Vour Cbild i. an Artist b, Vynona Mulcaater Robert Ion ln Searcb of Conte.porarI Ks.i.o Art b, Jalea A. Tbe VinDipec Art Galler, b, Alvin C. Baltlln Houston Nell AcquisitioDs b, GallerieB and MUBeUII in Canada A Broader Base of Patronale b, Geor,e iobert,oD Tbe Artl Centre of Greater Victoru b, Colin Grabal ietreat ln Melico - ACanadlan Palnter Abroad by L.A.C. Panton Vol. l, No. 3, Spnng 1953 3hitta Caiserlan - An BlpaDdlD, Vlsion b, Robert A,re TDe Paintin,s of Graba. Sutherland by Bric Newton aecollt:~ions 011 Hy Seventletb Birtbday by A.Y. Mol1, and Bruno Bobal b, Doris Shadbolt Jacrlon Grovlng Pains ln the Arts by Vll1111 McCloy Bd Bughe! - Punter of tbe lest Coast b, Doris Shadbolt Vol. n, No. 4, BUller 1952 Art and Telt'Vls.10n - ln Montreal anà Toronto by Robert A,re and Georee Blliott Modern French Paintln, at tbe National Galler, of Tbe Sretcb-boors of Jales WIlson Morrlce by Donalà W. Canada Buchanan The New Mub 1stoCI b, Robert A,re Towlrds Re,ionllis. in C~nadian Arcbitecture by Tbe Blennale of Venlce lIelco.es Canada b, Donald V. Doudas Slapson Buchanan Bric Brown .. l inell Hu b, W.G. Constable Design for an Art Aneel - Douglas Duncan and the The Acadelr Todar by Robert Pilot, P.R.C.A. Plcture Loan Socleu b, Andrew Bell ~ew Patterns ln Canadan AdvertiBlDI b, Carl Dur Vol. l, No. 4, SUller 1953 l.provlns Desl,n in Handlcrafts b, Mary Black A Sk

Con telporm Mural Paintinu Cm Vestern Canada b, The Growtb of Three Sull Galleries - Brandon , Granb" J .~. Sbadholt, René BOUI and Donald V. Bucbanan Villelheld b, Manon Hales Doil, Robert Ayre, ~.E. Greeninl Vo 1. II, No. 2, Vinter 1954 The Arts and tbe Modern S,nanlolue bl Harrl Mayerovi tek Buropean Muteu frol Canadian Coll ectioDs Bast is VeIt . i'bol::htl 0.1 the Uni tl and Meaun, of Vol. III, No, 2, "inter 1955 ContnporlrJ Art bl Va! ter Abell Abstracts at HOle by Vil liai Ronald Cludian Collectioftll Lauded ln Europe Concours Arti a ti que de JI Province de Quebec by Donald Adieu, Matule by John L'lin W. Buchanan A ieturn ta Europe b, Joe Pluiett A Her i tale in Oeca, - tt e Totel Art of tbe Hudu b, Recent AcqumtloDI b, Canadun Galleries and Musl'u_,~ Vi laon Dufr COlblnin( the Plne and Uecoratlve Arts br John The Flight frol Meanins in Pmtlnl b, Mane 11 Bates Steellan COlluutl Arta for Vancoulrer by Moira Sveeny Lal/ren P. Harris - A Way ta Abstract Pli nt 1ng Dy Recent AcgulSi tions bl Art Galleues and Museuu in Doualas Lochbead Canada A More Co-operatlVe mort to Sell l'llntlngr. by "1lY Stern Vol. II, No. 3, S~tlng 1954 Tbe Problu of tbe Artlst ln tne Hm tltes ~y Jark HUlpbrey Dand Milne 1882-1953 - HlB Hnd Cou Id Do IIbat He Hall You Can Borroll Plctures ln Vancouver by Margaret Wanted It It To Do hy George Blliott Andrew David Milne lB l Knew Hli bl Donald il, Buchanan Nell LI fe tn tbe Graphic Arts on the West Coast by Canad un Art 1ft Perspect l ve hl Bu c Newton Doris Sbadbolt Bnllels and Cerll1cB ln Quebec by Robert Ayre The SaQowskis - ArtistE and Craftnen by L.A.C. Panton Vol. Ill, No. 3, Sptlng 1955 The Des lin Centre - the Flrst Year by HUlpbrel Carver DeSl,n on tbe Sleeve by Cbarles Funlel An ArtlBt I!eflects on Trees ln Spmg bl Jacques de New rnrectlons ln Bntub Colulbu Pottery by René TonnncDur Bour The Search for VI tali tI ln Ontmo by George il Il ott Wllliaa J, Wood 1877-1954 by A.Y. Jaclson A Chute for tbe Arts by R. H. Hubbarà A Re-unlon of Puntln. and ArchItecture by John Korner Vol. II, No. 4, SUller 1954 Albert H. Robmon by Tholls R. Lee Tbe Stor, Behlnd Our Cover bl Audrey H. Hal/thorn The CollectIon ot John A. MacAulay of Winnipeg Dy Paris Honom Alfred hlhn by Joe l'lasrett Donald Il, Bucbanan Dutch Pllntins - the Golden Ale hl Peter Bm«r r A New Consciousness of Fon b, John Korner B.O. McCurrl, Servant or the Arts New StilpS for Old by Laurence Hyde Do Canaduns Want Modern Furnl ture 1 Naillun • Painter on the Tbreshold by George Blhott Colour in Architecture by B,C. Hinnin, Vol. III, Ho. 4, Smer 1955 Canada Acguires PaintinlB frol One of EuropE" B Noted Collections The Art of Jean IJallam by Donflld W. Buchanan Desi,n and Toronto's Subways bl Frank Dmes Karcelle Ferron: a Young Pllnter bl Plerre de Lliny Marini an Anluted Fill by Robert Yemll Boudreau Painters of New Brunswick by Avery Shaw Tbe Arts ln Sasiatchmn fodaI b, R.H. Hubbard GecieSlC Bm by Donald W, Buchanan Vol. m, No. l, Autuln 1954 The First BIennal or Canadun rmt1ng bl han kené Ostigul F.H. Varley - Fifty Yens of His Art b, George Blliolt Canadlan Pd. Awards hl Kathleen ", Fenwlck Ilhat the PubliC liants by Lawren Harr18 A Report frai Canada PellowshlP Holdm. by Loua: Show lIindow of the Arts - IIvrr Venlce Biennale by Archatbault, Goodrtd,e Roberts, Clare 81C~ and Robert IL H. Hubbard La Palle 99

Clr,aoa and tbe International AsSOClltlOIl of Plastlc A Girt of a Notable Durer by Katbleen M. Fenwiek Arts Montreal AequHes a Melhn, and a Bruegbel by John Stee'lIn Vol. nll, No. l, Autuln 1955 The Autographe Prints of Harold Town Canadian Ahstract Paintinl Goes on Tour by Jean-iené SOIe ReflectlOns on Art ln Alberta by Mnwell Bates Ostiguy MI Natl ve Pro·l~ce by Oonald Il. Buchanan Tbe M&Bis of the Lonsbouse lroquolB by B.S. Coatswortb The Arts and tbe Vanl8hlfiS Frontm by Dushan Bresly Sumr Scbool Under the Plnes by Donald Il. Buchanan Vol. m, No. l, Autuln 1956 he BI rds of LOUIS Archnbaul t by Robert Ayre A Canadan Sculi,tor ln Henco br Peter Olwrler Gordon Sil tb and the Gesture of Painting by Anthony Jues MacDonald - of People and the Clt, br Doris Klery Sbadbolt OSSlp Zadkine - the Sculptor as Poet by Pierre janssen An Artlst Relates HIS Skills ta Architecture by René Has tbe Rlperor Clothes? by Guhll Mclnnes Bour Llonel LeMolne Fltuerald 1890-1956 by Robert Ayre ASYIPOSIUI on rralllng by Jacqueb de Tonnancour, Agnes l t 's Fun ta Drail Lefort and Gabriel Filion Days at the Fur - A ReVle" of the venlce Blennale, 1956 by R.H. ~ubbard Vol. XIII. No. 2, llinter 1956 PUlltms and ProVlncials in Canadlllll Art by W.S.A, Dale:

Hy Fnend 1 Angotl war by Jues Houston Barbara Hepllorth 1 Sculptor by Isabel Batcheller Vol. m, No. Z, ~inter 1957 ASheaf of Smer Sketches b, kobert Ayre Annual Artlstlc Co.petltlon of tbe ProVInce of Quebec Canada 1 S National Co 11 ectlon Assules Nell Stature br Claude Plcher Recent Acguui tions by Canadian MUBeulS and Galleries General Vi!'11 frol a Lofty Bilnence by R.H. Hubbard A Plan for Helplng Museuis by SlIuel H. Scbecter The Growth of a Canadm Gallery br Janet Barber Best Foot Forward in Brussels by Donald Il. Bucbanan The Great Winnipeg Controversy by Richard WIlhlllS and Artsiets ln Booi-Town: Young PuntHs of Toronto by ~eorge SWlnton Robert Fulford Recent AcqUISItions by Canadll1n Museuis and Gallerles An AppreciatIon of the Native Art of Canada by Robert Sculpture ln a SUlller Course by Robert Davidson Ayre

VOl. XIII. No. 3, Spmg 1956 Vol. UV, No. 3, Spnng 1951

Thons [Javles - Soldler and Plllnter of Bubteenth­ Is Non-objectl Ve Art Non-obJectionab!e? by Colin CenturI Canada by Kathleen H. Fenllici and C.P. Stacey Grabu Should 1 t be POli to PalOt or Ilhat to Punt? by Jacques Serllraphl - "by a New University Co uree Attuets de Tonnancour Artuts in Saskatchewan by Eh Bornstein Cbuck Yip: ACbinese-Canadun ArtlSt by Mary Ann Lasb New Life 18 Guen to the Cuit of Haida Jewellerl by At the Foot of the Ladder by Jean-René Ostuuy Hary Ann Lash Bertrll Brooker 1888-1955 by Tholls R. Lee Eigbtb ADnual Rrhlbition of Bditora! and AdvertiSlng Recent AcqUisitions by Caudan Huseuis and Galleries Art br Paul Arthur Brtngins Art to the People by MalY Stewart Balnani and Cb lld Art - A Critieal Review of SOie Erperuents and Norab McCullougb Achements by Arthur LiSier Art in Canadial! SenooIs by C,D, Glltsrell Vol. HII. Ho. 4, Suner 1956 Uni versitl Students FOrl an Alliance lIith Creative Artiste in Canada HI Ilpresslons When Vlelling Nature br ILL Hughes Joe Plukett - an Ode to a ~OOI by Dons Sbadbolt Vol. IIV, No. 4, SUller 1951 ;'" Ganadun ArtlSts Abroad - an Brhtbltlon br Clare Blce Muwell Bates, DraaatlSt by Ilhngllortb ierr BOl-car Days ln Alcoll 1919-20 br A.Y. Jackson Artlsts Design for Ballet by Irene ion Tbe Second Biennal of Caudan Art by Donald W. 100

Buchanan and Robert Arre Wood Poets and Painters: Ruils or Partms br Rarle Birney IlpresBlons of the Fm by Donald Il. Buchanan Jock MacDonald, Painte:'-Brplorer by MlIlIell Bates L'Art Conte.poraill a Canada by Plul Caso Canadian artists in Paris by JaBline and Philip Pococi COllents br a Belaian Art Crltic Faces of the Forest by Rd.und Carpenter Eric BerClan by Robert Ayre The Arts Cale of Age in Windsor by Kenneth Salturcbe Recent Tendencles ln Abstract Palntlni by Sn Herbprt Rlanuel Habn 1881·1957 by Charles COlfort Read Tbe Tentb Aniliverssry Rr1lloitlOn of the Art Directors Vol. IV, No. 1, ('59) Jan 1958 Club, Toronto, 1959 by Noel Martin Ivory Carmss of the Hudson Bal Hskllo by Rd.und Fifteen Veau of Canadian Art by Robert Ayre Carpenter Fm Sprins Fever ta Fantas! by David Milne Alex Calville by Lincoln Kirateln Han ln a br Ray Atherton The Nanan Mackentle Art Gallery and the School of 'l'he Chanung Face or Canadan Art: Canadian Artists at Art, ReSina College br Norab HcCullough Bru8sels by Donald Il. Buchanan 'l'he Recent Lithograpbs of Jack Nichols by Kathleen H. Vol. IV, No. 4, (ml Nov. 1958 Fenwick Canada BuUds a Pavillon in Venlce br Donald V. HOStilcs: Vancouver ta Venlee anà Return br B.C. Buchanan Blnnu, SOIe Aspects of Sn tuh Pmtlng ln the Rlsbteenth Marlo Merola by Robert Ayre CenturI br Denys Sut ton Can Toronto Overtaie Montreal as an Art Centre? bl CBC-TV/Toronto by Paul Arthur HuSo HcPherson The Statue and che Gas-buol br Willin IL Watson UDe t.ite en Construction par Guy Vuu Designins for Agates by Mary R. Black The New Canadian Pavillon at Venlce An gnduring Gi ft ta New Brunmci: The Lord Vol. XV, No. 2, (,60) April 1958 Beaverbrook Art Gallery by Stuart Truem Vancouver DreBBes Up for tht Centenn181 br Dorts Keepins Pace witb Architecture in Vancouver br Frf'd Shadbolt Las8erre Recent Chrlstlas and Nell Year's Greetlng Cards by Paul 'l'hl! Art of Herbert Siebner by Anthony Rlery Arthur A Ym in the Sun by Colin Grahaa Userul Designs: SOie Pnnclples and Paradoxes by Arts and Crans in tbe Queen EliZabetb Hotel br Robert Pb i liP Torno Ane Better Packagtng for an I!xhIbltlon by Uobert Ayrp The Recent Litbographs of Jack NichaIs by Kathleen H. Fenllick Vol. XVI, No. l, ('63) February 1959 Publicity for Good Design by Donald W. Buchanan The ROlal Arctic Theatre br Moira Dunbar A Montreal ConnOlsseur and Benefactor by Paul DUlas The Technique of L.L. Fitzgerald br Ferdinand &ckhardt Acadelies of Art in 1ranBltlon br Charles COlfort Fi tuera1d on Art M1Btra par Mlcheline 8eauchem Le Prir National Guuenhei. 1958 par Gui' Viau Tbe Canada FoundatioD by Walter Herbert Recent Acquisitions by Cmdan Gallenes and MuseulB ConfhctB ln Canadian Art br Clare Blee An Artist fro. the Prams Designs a Mural for Gander AGID br Henr, Finiel Airport bJ Donald Il. Buchanan Recent Acquuitions by Canadun GaUerleB and HuseulS The rlperial OU Review br Paul Arthur Town' s Mural for the Saunders-St. Lawrence Generatlns A Cause to Celebrate by Honcrieff Willi8lson Station br Pearl HcCarthy Jean Chauvin. F.R.S.C., 1895-1958 Vol. XV, No. 3 (~61) August 1958 Tbe Autm Season: 1958: Toronto br Hugo McPherBon Canada at Brussels: Montreal br Robert Arre The Canadian Pavilion: Its Arch tecture by Charles To Serve the Llnn, Cause by John Steeuan Greenberg Designing the ExhlbitB: ATh"é:e-Year ProJect br T.C. 101 ( Vol. JVI, No. Z 1'64), lia, 1959 Vol. JUI, No. Z (t681, "arc~ 1960

Henn Moore Sculpture iD CaDida b, Alu Jarvil Jall G. VIen br R.L. Bloore Leon 8ellefleur bJ Robert A,re Clrl Bcbaerer b, Geor,e 10hitOD Var 1er'. Archc Sletchu bJ Id,uDd Carpellter Alev BOit for th latioDaI GaUen of Canada Leilure, to Paint b, MoU, 80bal Vililal Art and P~OtOlrlpby b, Kamll Batel Ilhat Und or Chic Centre-pieee? b, Alan B. Amtron, Ghi tta Caim.an br Morak IIcCulloulb Robin BUli br Nonan Ba, Recent Acquisitions br Clnadian Gallerie. IIId MUleuls Four Nell Books on Canadian Art br R.H. Rubbard Reflerions .ur dm culture. artiBtiques par Jeall-Rellé VoL IVU, No. 3, la, 1960 OBti,u1 Special hm on Graphic Deliln The Vinter SUlon: 1958-1959: Toronto bJ Robert Pulrord On Advertiline Oeai,n Montreal br Robert Arre On Hi.cellanel On Tbe Mai in, of Boois Vol. IVI, No. 3 lm), AUlU8t 1959 On Teleyision Graphici

Stone-Ile Art in the Candian SHeid bJ Sel"rn Dewdne, Vol. IVII, No. 4 (1691, Jul, 1960 The Art of Kuuo Natllura &, Andre" Bell Louis De Niverville br lIobert Pulford IIprelllioni.t PaintinCl in Canadian Collections b, SalzburJ Presenta tbe Pint BieDnl of Cbristian Art lm B. Tumr Peerinl Throu,h tke Varnilb bJ Natban Stolow Soyiet IDd Cnrilt Paintiu b, Jobn Sttellan Tbe Reaetionaries bJ JOleph Pllliett Louil lIu~htocl Interviell with Lallrence Sabbatb Canadian Graphie Art Abroad br Donald W. Bucianall Ronald Spiciett br lIarvell Bates Aba Ra1eta" HI India b, HUlphu Milnes To.ioia Tellai br Salaloto lojo and Na,aiau Oiabe The Sprinl Se lion : 1959: The Montreal Scene b, Lawrence Sabbatb 'l'oronto br Roh!rt Pulrord The Toronto-HalU ton Scne b, Blillbetb lilbourn lIontreal br Robert Arre A.Y. Jacison Iataniell lIitb Lavrence Sabbatb

Vo}. IVI, No. 4 (166), Novelber 1959 Vol. ml, No. 5 1'70), Septelber 1960

'l'he ReactionarieB: Part II bJ JOleph Pluiett Jean-Plul Lelieul b, Claude Picber and Karcel Cadieul Confessions of a Con8cientioui Mon-objector_ bJ ROlleU The YOUDI Artilt iD Callada b, Clare Bice Bo" les Sil Zac lB Interview with Lawrence BabbaU Canadian Cera.ici 1959 br NancT Ificlba. Bo,d COllti,urations br Dlfid Partrid,e Ilhat iB a Professionl CraCh.an? br Harold B. Bumbl 011 the Moville or lorb or Art br Natban 9tol01 Tbe Pil.rilS and the iirtuolo br Villial Gouldinl Parllien Clari lDteniei "ith Lavreace Sabbath Sculpture anCienne de Quebec par Jean-Paul lIoriuet Tbe Montreal Scele Kr.:, Il Sculpture of Quebec Silul taaeoui Vbiol and Hu.an Creativi tl b, C. P• Allan R. Flelliu b, Robert Pulford Crollle" C.B.B. The BUller Sealon: 1959: lIontreai br Robert Arre Vol. IV II , No. 6, Nomber U60 Special lliue on Architecture and Ulied Artl Vol. IVII, No. 1 (1611, Jlnuar,1960 Tbe IllyiroDlent: Kali.o Graphi c Art br Jale. HoustOD Arcbitecture to Go QuietlJ hme Bl b, lillial Alfred Pellan bJ Ii._. Bucball&D lilbollra Facelalers, Poncinu b, Tbeodore men Heintic~ 111 Searc~ of the LOlt Street h, Inini Gronlan On Collectinl bJ Perr, T. iathbone Nev Fonl of 'alih HoulÎDI br Blanche VIII Giniel Recent Acquisition. bl Canldiln Galleries and HUieUI. ArcUtecture: Th Defilll of a House b, Artbur lricholl Tbe JOlnb H. Hirl~born HOUle 10: , , Allied Artl: 1II: The Dealer: - Art Meanl BUline .. bJ Alan Jarvis A Sun!! of Z9 COllercial Galleriea Louis Arc~lIbaul t bJ J. A. lIorlaD Art in tàe Clamoo. b, Sa. Black Norlill Blater ClDadiall riae Cralt.: iicbrd Willil.l. Jil Viller. Georee SviDtoa Mic~eliDe BeaucheliD bl ",rjorie GiblOD Art Priee Vi.it to 1 Studio: LIdia Btoifa R. York Vilm Cludian Cerilici 19~1 IadUitrial Duiell: CraftlllDlàip iD "etll Robi! BUI. Walter Nuceat, Benr: Piakel and Henn Ivelde •• Peter Vol. IV III , . 4 11141, Jul,/ÂulUlit 1961 Nunk and David Gillour 011 Quebec Jokll L'lin Interview vith Llwrence Sabbath The Barlt Arta of Quebec. bJ Jean-Paul Morillet and Vol. Inn, No. 1 (1711, JaD/'eb 1961 Claude Picher CaDadian Pille Craftl: ASurve: of the Wori of 24 'oun, Can.diall Artiste b, Thereae Bn.sard Robert Pullord Jeanne-d'Arc Corriveau C'Dadian FiDe Crafta: Portrait of a CranSlaa: Landry han Konrad BloOIIIii br John Gillore Art in the Cllllrooi b, Lucien Norl.ndeau Tbe Decorative Art.: An Aesthetic Stepchild? b, Robert S"eet • Sour von lIeulm IV Biennal of Canadian Art bJ Robert Fulford Tbe Artist-Craftaun alld Trade UllioDl Vol. mII, No. 5 11151, Sept/Oct 1962 Vol. IVIII, No. 2 ~t72I, Karoh/April 1961 OD the Call.di.n Conference of th Arta

Perspective br I.M. FeDwick The Scene bJ Blizabetb lilbourII 18 Print-Naien The Scene bJ Robert hlford Hedia Used br Print-Harera Represented in this Ism The Pre .. Stanley Coserove IDterview with Lawrence Sabb.là On Poetrr Readinll bJ Hilton llilm On Bebalf of Cauda'! Cultural Macuines The Acade., Wi thout Wa111 b, Northrop 'r,e Art in the Clulrool bJ E. GeoffreJ TOliinsoD That Acaden vmout Valla bJ 'raak H. Underhill Canadiall Fine Crafta: Art and tàe Affluent Societ, bJ Rumll Lrnes The Craftmn in Cmda br Bob Oldrich The Arta in Societ, b, John C. Parkin, Huen Sise. CODtralts: Helen Copeland and Walter Drohn Anthon, AdallOn, J. -Co Falardeau, 8tevart Bate., The Ca/ladiln Guild of Potters b, Ruth Douet lumll L,IIU, JaDe Drev Indultrial Craftl: Claude Venette The Vilual Artl br Harold TOWII, Aler Colville, Jacquel

Viait ta 1 Studio: Koib Satterb de ToallaDcour t llllU No.ucbi, AlaD Jarvi B Portrait of a Craftllln: Helen DuncaD bJ John Gillote Heritale de Prance bJ Ivan H. Turner Bruno Bobai at U.N.8. br DeBIDnd Pace, Robert Pilot IDterview with Lavrme Sabbath Clnldian Fine CraCt.: Vol. IVIII, No. 3 (t731, HaJ/June 1961 nat DOel tb Public (illd the ArUltl Thin. About tbe On Collectilll CraftillD? Hou il the Cmdian Crartlll! TrlÎned? Collectors. Dealers aad a Critic bJ Elizabeth lilbourD The Alericln CraChlen'. Couaoil 1: The Inrtitutional Collector: The MODtreal MUBeul of Fine Arts bJ Ivan B. TurDer Vol. IVlIl. No. 6 ~n61, Nov/Dec 1961 Il: Tbe Private Collector: OD Pkoto,rap~J Char leI S. Balld Beatrice Davidlon Plloto'n,br and the rille of Canada b, Pbilip Pooock Dou,I" Duncall Pàoto.raph hl 51 Photonaplers Paul Lariviere Biocra,biel and Note. on the P~oto.rapba SeaD Kmb, Content iD Conteap0rln Art br Jokn Perren 103 ( Caftadiaft Fine Craft.: Vol. III, No. 3 "19), Ha,/June 1962 Editorial On Patrou Quali ty in the Crafh by Donald GoodaU Canadian Crafts at Stratford b, Norah IIcCullou,h fb Patrou: Harketin, the Cratta bJ 1. Stoaor Poul.ea iditorial b, Alan Jarvis flle Nev Patroll by lan NaclenDlII Vol. III, No. 1 (177), Jan/Feb 1962 Tile Role of the Architect b, Jaaes A. Murra, On the AutolobUe 011 Buline .. : ,lat il Buaine .. BuriDl1 br David Fultoll Art Education by Howard Conlnt ,ltat Art Cln do for Buline" b, Clair Stelfart The Auto.obile: BusineBB Needs Advice b, Harold fOWII Editorial br Blanche van Ginkel On Goverllient: Desi'lI 0 ( the Autolobile: 'hl Ottalla is A(raid of Art br Sandra Gvrn The AutolobUe as Object br Serie Cher ..,eff Ilhat Happened at Halilton? b, Blizabeth lilbourn Cars 18 Collale b, Ralph Ciplan On Learninc: Desisn br tbe Autolobile: The University al aD Interprtative Patron b, w. The Kark of the Autolobile Gouldill' Vision ln Motion by Gernard M,ers A GIl School for Children by Peter Pellninlton Desi'n wi tb tbe Autolobile: On Cburch Art: The City br H.P.D. vaD Ginkel Sacred Art ud Architecture by Gerald Trottier The Ani .. l lIor ld b, Louis 1. Kahn But it 1 t Lool Lib a Church! bJ Victor Fiddes The Landscape br Blanche vin GiDke! Letter frol Ottalla b, Scott S,Ions Tbe Ketropolitan Ile,ion bJ Hans Bluaenfeld Frol the Collections b, ivan H. Turner Design for the Autolobile: Televilioll b, SidneJ LaiD ( Architecture b, Willia. GouIdlD' Theatre br Jean Gllcon, and Robert RUllei Structures Books bJ len Vinters Furniture l Furni8hinIB b, Stil Batvor Fill br Joan FOI Letter frol Victoria by Ton, Blery Art Neill b, Arthur Lieneck Ind Robin Mathews Planninl br Sandra Gllyn FU. br Joan FOI Vol. III, No. 4 ('80), Jul,/August 1962 Letter frol London by Peter Carver The Perfoflinc Arts bJ Jo~n Hirsch Llnll Chadllick br David P. SUcor with photo.nphs b, Oeil'! by Sandra Gw,n Peter Croydon hlevision br u~~ey Lalb An Bditorial b, Alan Jarvis Sculpture in Canada: Vol. III, No. 2 ('78), March/April 1962 Paillter-Sculptofl br llillbeth lilbourn 'eldeu br Ivan H. Turner Art Theatre Music to 21 Mil 1962 Caneu b, David P. Silcol ASurvel of the lIorl of 21 Canadiu Artists Nodellm b, Lawrence Sabbath Theatre by Robert illliel and TOI Hendr, TV and Radio b, Sidne, Lalb Ind Chester Duncall Television b, Sidney Lalb Fill bl Joaa '01 Fil. h, Joan POl Nuaic br ran DaYidlon, len lIinters, Murra, Scbafer, Letter frol 'oronto by Scott S,lonl Serie Garlnt aad Chester DuncaD Ballet by Grant Strate Theatre by Nichel LIIlJhl, and Robert RUBSel Nostallia b, TOI Hendry Ballet bJ Stroffall Robertson Boofs h, Lyft Harrinltoft Art bl Joyce Zellns IIld han B. Turner Letter frol tbe Vinenrds b, Donald V. Buchlnan Frol the Collections br Ivan H. Turner Vol. III, No. 5 (181), Sept/Oct 1962

Televilion: wiU pioto,raphs b, Robert 'iaudale Clilate by Neil COlptOD Public Affain bJ Neil 1I0rrinon 104

Tbe Cri tics bJ Sandra GIJD and SidneJ Lalb Vol. Il, Mo. 2 (1841, Marcb/April 1963 ReCionalial bJ Stepben Vizinc!e" Robert Fulford, lildare Dobbs, TbeIIi McCorllci, Villial lilbourn, Clelent Greenberc'. Vieil of Art on the Prairie. Robert Rualel and Gilles Henault A Curmt GeDeral Problel ... Ind 1 Specifie hsue by Tbe Arts b, AlaD Jarvis, Strowln Robertson Ind Robert Ivan B. Tuner Ruml Riopelle, Tvo Brief bllYl by Pllihp Poco ci and J. Prospect by Marshall McLuhan Russell Harper Letter frol London b, HUlo McP~euon Robert Hurra, br Jonlthan Holstein Letter frol Seattle bJ TonJ 11er, The ArIOn Sboll - New York 1913 b, id ward H. DWi,hl Letter frol Stratford b, Jales Reaney Medieval Architecture in Yuloalavia bJ Nlda Letter frol lyoto b, Ronald Spiciett 10lnllnovich Vancouver International Featival by Alvin L. Bllhnd Noveaber in Montreal br Lavrence Slbbath and lan Davidson Fi 11 bJ JOln FOI Stratford Shaiespearian Festival by len "inter. Theatre bJ Robert RUlSel Montreal Festival b, Joan FOI TV br Sidney Lllb Canada ln Europe - SUller 1962 bJ Evan H. Turner Letter frOI Nell York by Dore Asbton Letter frol London bJ Jobn M. Robson Vol. m, No. 6 ('82), Nov/Dec J96Z Books Frol tbe Collections by Evan H. Turner Three Centuries of Canadian Pailltio, b, J. Ruuel Edit IVln, 1920-1962 by Andrew Hudson Harper Georle Doullas Pepper, 1903·1962 b, Luren P. Harris Fill bJ JOln For Theatre by Wendy Michener and Robert Runel Vol. Il, No. 3 (1851, Har/June 1963 TV by Sidney Lub CorresDondents Hugo McPherson and Jane Bennett Dutcb Paintinc and tbe COBRA Group bJ Robert Welsh Fm tbe Collections by Evan H. Turner TOllard ln Appreciation and Understandlft' of ·Pmitlve A Gar land for Ted Art" bJ Rvan H. Turner Mllhel TeitelbauI: the Artist ln Oppoldtion br HUlo Vol. 11, No. 1 (t83), Jan/Feb 1963 HcPberson 3 Nell Amicln Painters bJ Clelent Greenberg and Help! Gerald E. PinleJ Art Calendar Tbe Curious Vor Id of Val traud Marklraf br Arnold Art Reviews RochaD Delacroix' s North African Pictures by Lee Johnson Richard Turner bJ Leo Ra.pen A Prairie Approacb to a Canadian Vision by Donald W. Fill by JOln FOI Buchanan Theatre bJ Robert Russe 1 F. Cleveland Morsan, Collector by Evan B. Turner Rldio bJ Sidner Lllb Norval MorriBBeau by Selwyn Delldney Letter frol Nell York by Oore Ashton Aba Bayersi, bJ HUlphreJ Mi Ines Letter frol London by Jobn H. RobIon P.K. by Anne FranclS Boois Peter SlIer: Tbe Object as Word br HUlo McPherson Open in, Speecb of tbe 1962 erhlbition of tbe Canldlan Peter Rindisbacher by Clifford Wilson Group of Painters at Tbe Art Galler, of Toronto br Canaàian Posta,e Shlps by Eric L. Burgess Funk H. Ullderhill Fill br Joan FOI Tbeatre b, Robert Russel Vol. n, No. 4, (186), Jul,/Au,uIl 1963 Letter frol London hy John M. Robson Boois Gerald Trottier: Tbe Carleton Unlversitl HOlaie Mural Prol the Collections br EVin H. Turner br J. W. Borcolln Encounters: Zadkine and Giacoletti bJ Donald V. The Hart House Collectlon of Cludiln Art b, lan Buchanan !lonta'Dei The Sir Geofle Willials Collection Elin Mullev bJ Tony berJ 105

Probleas Confronting the Isiilo Artist bl Ivan H. Developin. our National Museuis • ADutl ta PosteritJ Turner bl a Corre~pondent Stan "hite on Desilniu for the Theatre Painter in a Rural Settinc by D.W. Buchanan ArcH tecture Il a Pure lt Pictorial Thini bl Bric Arthur Plll b, J.a. Cololbo Vol. III, No. 2 (t90)a, Marcb/April 1964 Letter frol Nel/ Yori by Dore Ashton Letter frol London bl John H. Rob80n PiCU80 bl Jobn RicbardsoD One More Place ta Parr AutOlObiles bJ Robert Fulford Mount AIlhon's Owens MUleu. - a Loor at 19th Centun Values br Helen J. 0011 Vol. n, No. 5 !lB?), Sept/Oct 1963 Collectin. iB a Matter of Love b, L. V. Randlll ROll 20 CaBadi,nB Drill tbe Line br Arnold Rocrlan In Search of a Heaningful Calladian Sllboli .. The Resonlnce oC Batterwood House by HUlo KcPherson GuiId at the Cronroads by Sand1'l GI/ln Letter Crol Nell York br Dore Ashton The Hrtholoil of Jaci Nichols b, Hugo KcPherlon Letter frol London bl David P. Silcor The Art Huseui of Finch Collue b, J. Barrl Lord mdian Heri tue: the Real and the Con tri ved br Donald ReflectlOnE on Saeina TlPosrapbl 62 b, Gilles Henault If. Buc)lanaD ~h! T,polraphr by Carl Oair Robert Hedriek by Harry A. H,lcoll8on Vol. m, No. 3 ('911, M'y/June 1964 Tapeltrr Design by Stuart Horgan Theatre by Chris Brllnt A Touch of Sprine Pever b, Bill Bantey Letter frol London bl John N. iob8on Aines LeCort Opened the Door ta Let ln Movelent bl Colin Haworth Vol. n, No. 6 (188), Nov/Oec 1963 MouBseau's Space and Tile Machines by Gilles Henault Art At the Airports b, Ivan H. Turner A Reviell of TI/o Brhibi tians of Rellgious Art b, Georle Press COlaeats on the D.O. T. Art Progra. Wallace Art in the Nell Airports Gives Canada a SophlSticated Canadian Christlls Cards IlIle b, Frank Love A Cri tic frol Saslatchel/an Lools at Toronto b, Andrel/ 11 CanadianB Looied Tm at the Tate br Cbar les S. Hudson Spencer The MuraIs of F.S. Challener by Charles B. KcFaddin 14 Painters Give Us a GHlpse of Conte.porarr Britisb Hiebael Snol/ and bis "alkins VOlan bl Arnold Rocklan Paintine bJ Dennis Youn, Surrealisl by Paddy 0' Buen Tbe First Christ-Fieure in Bar bch' B Vori bl N!Oli Fili bl Joan FOI Jackson Gram Theatre b, Lal/renee Sabbatb Toronto's Nell Art Colon, wita AtaDaphere BuUt in bl Letter frol Nell Yori by Dore Ashton JOl Carroll Letter frai London by John H. ioblon Back ta !andinakl bJ Fernande Saint-Kartin iaBdolDen bl Aflold iocrlan Vol. UI, No. 1 (1891, Jan/Feb 1964 Tie 1964 GUllenhei. International Awards Exhibition b, JODathan Holrtein Superllll Cales ta the Art Gallerr b, Anold Rocllan Letter frol Nell York b, Dore Ashton Ivan EIre b, Richard Villiau Letter Cr 01 London b, Dlvid P. Bilcol ClravanBerais and Motor Ratels bJ JaleB Acland Ina Meares b, JOlce Zelans Vol. Ill, No. 4 (.92), Jul,/Au,ust 1964 Art in the Place des Arts br Lawrence Sabbath J. Fenl/icI Lansdollne by Peau Ellis Livinl8ton In Search of tbe FieurE. in Canadian PaintiDl by J. Tbe Art Gallerl of Greater Victoria b, Donald Bane, Barr, Lord Arthur Handl The Nev Pilure br J. Barrl Lord Fi II b, Joan FOI Gall by Cilarlea S. Spencer Letter frai New York br Dore Ashton 1 Relelber 'eable, bl F. Maud Brolln Letter frol London b, David P. Silcol Quebec DiBplars Ber Trellures bJ Jean-Paul Marillet The British Pren b, David P. Silcol Montreal '8 Nell MUleul SUn Old Controveul bl Bill ------

106

Trent Desiu: BluDt TaIi lunote. Dui,n Seainar h, Arnold Gerard Morinet by LJst Nantais RociliD The Scope of Sculpture iD '64 bJ RUlo KePhenon Letter frol New Yori b, Diana Anatlle Walter Yarltood intervielled by Jo, Carroll Destruction by Renry Strub Vol. IIU, No. 1 ('95), Jan/Feb 1965 Letter fm Nell Yori bJ Dore Ashton Letter fm London br Char les S. Spencer Toronto' s Nell Art Scene b, RUlo KcPberson Letter fm Toronto bJ Arnold Rocilan DuncaD "acpbenon: GalathulPian Poli ti cal Cartoon i st bJ Jo, Carroll Vol. III, No. 5 (193), Sept/Oct 1964 Bllilo Pencil Drallin .. : ANe,lected Art b1 Tmence R1an Abstract Brpressionin is an Amican Revolution b, intervlelled bl M. Bbbitt Cutler Richard Arlltronl Tbe Nude in Art b1 Ton, Kler, Abstract Brpressionill Then - and NOli br S.. Bunter Desiln: The BrieC GIon of Canadian Glass b, Gerald New Yori'. Vitality Tonic for Canadian Artists b, StevellB Jonathan Holstein Desien: Proaperitl throulb lndustrial Deslin b, DaVId Lake Artists' WorlBhop: An Appreciation by Arthur Crane KeKa, Deaian: Four Deai,ners in Three Dmnsions b, Anne What's Nert arter Abstract Rrpressionisi b, Jules Marsball Lanuner The Art "a"zhu bJ Paul iuue 11 Tbe City and the Dreal of Philip Surrer b, Robert Ayre Kaster Vorll in Canada: No. 1 b1 Charles Co.fort Alfred Pellan interviewed by John "JUie Letter frai London b1 Char les S. Spencer Tne Art of Our Tile frol 1954 to 1964 by Char les S. Art Scene iD Canada - Montreal b, Kobert A1re Spencer Art Scene in Canada - Toronto by Arnold' Rochan Four New Faces in Kontreal br lIicbael Ballantyne Art Scene in Canada - Villnipea Jack Reppen: A Retrospective Looi by Arnold RochaD B.C. 'B Nell Talent Sholl ta Tour Canada by Doris Vol. llII, No. Z ('961, Marcb/April 1965 Sbadbolt Faces of Canada Rrhibi t a Kodest Socul Histon by Editorial - IndiVlduallBl Reconsldered Alan Jarvis An Autbetic for Art in Archi tecture by Jack Shadbolt Recent Acguisi tions by Canadian KuseulB Church Art and Church Architecture • ~anted: Adne!' by Letter frol London by Char les S. Spencer Peter Larile" S.J. "ontreal's Sculpture S,lpOSlUI - ln Rrperllent ln Vol. III, No. 6 (1941, Nov/Dec 1964 Collaboration b1 Michael Ballant1ne Arcbitectl, Artists and Hnlineers - Can The, Worl lt's Christus, HOllever You Looi at It TOlether for Bpace-Aee Cities? b, Jo, Carroll Childhood and the World of Art br !lichael Ballant'De J .11. Bamale, - Paioter of tbe Sea b, Robert Afre Canaletto on View in Tbree Canadian Cities bJ Jean S. Reprelentational Art Has Weal tb} Fmnd b, Lisa 80us Balfour The Stran,e Success • and hilure of Homl "orrimu The Paintin$ lB Object b, Andrell Hudlon b1 J01 Carroll G(r.~le !!tlinton intervimd bJ Cbriltopber DlI.foe ASboll of Violence bl David P. SilcOl A Nev Deal Cor tbe Vancouver Art Gallen b1 Micbael This Art Vas a Crile by NathaD Stololl BallantJne Paenolenon: eolour Paintine in Montreal br Andrew Delien: Tbe Arti.t in the Market-place b, Arnold Hudsoll Rochan Gerald Gladstone interviewed bl JOJ Carroll Deliln: Ihm Book? br Prani Nellfe Id The Eleetronic COlPuter as ID Artist b, Arnold Rocklan Desien: Architecture· Tbe Great nlndwrl tin, of and Leslie Mezei Kanlind b, Allen Berneoltz AIl the Brcitelent of a Private ColiectioD - but neTrt "aenines b, Paul BUllell Public b1 han H. Turner Mllter lIorll in Cauda: No. 2 b, Nichael Jarre Desi,n: Tbe New Guardians of Industrial Design b, Anne Letter frol the ~est Coast b, Tonl Bler, Karshall Letter frol Toron to b, Arno Id Kocllln 107

Art Scene in Canada - Montreal br Robert Ayre Art Scene in Canada - Toronto b, Arnold Rockaan Art Scene in Canada - Toronto bl Arno id Rocklan Art Scene in Canada - Bdlonton Art + DeBilD Mlluines by Paul iuuell

Vol. III!, /1o. 3 (1971, Ka,/June 1965 Vol. IlII, No. 5 (199), Nov/Dec 1965

The Unique Genius of Norlan McLaren by Ma, Bbbitt BaDlle,'s wi th that Festive Look by Aler Mo,elon Cutler ne U.S.-Inf!uenced London Art SCelle b, Tholas N. Art Bducation throu,h the Cllera'. Ble by Joan Foz lIaythal Sorel Btrog: Sculptin, il ln Brploration by W.J. Crill. in Callada's Art Scbools b, May Bbbitt Cutler Vithrow Tbe Iiducltion of 12 Practisin, Artilts Rolph Scarlett - Twentieth Centur, Pain ter by Roger Silth Biennal a Sober AntholoCl by Arnold Rochln Jell iner Art Todll Vielled hl a [inetic Do, by Richard Goraan The hab teenth-CenturJ Urban View in Canada by J. 110117 Lllb Bobal intervieved by Stuart Allan Slitb Barry Lord ID Searcb of Our Mative Landlcape by Nancy B. Jo" Blcitmnt innote Calder's Vorl bj Barbara Roae iobertson Bnglish Victorian Artists DeBerve Recognition br Allen lIuter Woris 111 Canada: No. 5 bl John Ha,es Staley Art Scene in Canada - Montreal by Robert Ayre Carl Scbaefer Interviewed by Joy Carroll Art Scene in Canada - Toronto b, Arnold Rochln DellÎln: Stace Designer Theatre'! Step-cbild by Herbert Wbi ttaker Vol. um, No. 1 (tIOO), January 1966 Governlent Spendlng Creates a New Art Market by Arnold Rocliln Bditorial - No. 100 ,"" HaBter Worka ln Canada: No. 3 by Narce 1 Rotblisberler Tbe Ilile Duplicators - Lichtenstein, Rauschenberg and l Letter frol Montreal br Huen Sise Warhol b, Bllell B. Johnsoll " The Art M,,&zines br Paul Russell Tbe Pover of the HOlent - ALesson frol Swift by Art Scene in Canada - Montreal b, Robert Ayre Arnold ROCIIiII Art Scene in Canada - Toronto br Arnold Rochan Tbe Sprillls of Art - A PsrcboanalrBt's Approacb br Canadian Art Todal: No. 1 by Arnold Rocilln Gilbert J. iOBe, M.D. J il Dine - Malie and Rea li t, b, Brydon Slitb Vol. Ii II, No. 4 (1981, Sept/Oct 1965 \rt and tbe COliunicationB Network b, Lawrence Allolla, Destruction: A Factor in COllte.porau Art by Evan H. Print-Haklng ln Canada - The Plcture Toda, Turner Print Hahng Rast + West by J. Bmy Lord The Growinc Influence of Fiet Mondriall by Robert iielsh Print-Haking in Ontario by Harry Kalcoll1on Pop and )Ion-Pop: An BIBIl in Distinction by Robert Print-Making in Quebec by Har jorie Harus ROlenblul New Directions ln International Print-Makin, by Riva Call1diall Art in the Siztin by David P. Silcor Castel lin Ten Artiat. in Selrcb of Canadiln Art Yves Gaucher interviewed b, Na, Rbbitt Cutler Art in Notioll b, Brydon sim A Glossar, for the Print-Harer br Nar jorie Harris Letter frol Saskatchewan br John Ca,e Reflectlons on tbe Brottc in Art by Arnold Rocklan Mllter Voris in Clnada: No. 6 b, V.G. Coutable Search for aD UndiBcovered Alphabet b, Jalel Reane, Art Scene in Canada - Montreal by Robert Ayre Culture Plannin" CaDadian St,le by BII,o McPhenoD Art Scne in Canada - Toronto b, Arnold iockllD Desiu: The Jeweller 18 a Sculptor - Jack POllock, Anita Airons, Walter Scbluep by Linda flunk and Hay VoL mIl, No. 2 (1101), April 1966 Hbbitt Cutler Desi,n: A Plea for Blperilent am, Craftnell Potters Bducation of the Senses by Donald F. Tbeall bJ Arno Id Rocllln ViBUd Arts in a Universitz Settin, b, Arnold ROCIIID Naster Worls ln Canada: No. 4 by Wolf,an. Stecbow Public TIIte ud the Man Nedia by Sidney Lllb ( Letter frol Nell York b, Barbara ROBe Tbe National Gallerl and Education br T.A. Heimch Fi Ils on Art b, DorothJ NacperBon Art in tbe Tberapeutic CluBrool by Dennis Younl Art Scene in Canada - Mon treal by Robert Ayre Tbe State of Re.ponn ve Awareness by Andrew Budlon 108

The Role of the Art Cri tic arh/clnadl - Tbe Ronald Chapei in Toronto Harbour b, David Rahton and HUJo IIcPhmon Vol. Il IV, No. 1 ('104), Janulr, 1961 Arti.ts frol the Keewatin b, Geor«! SIIÎllton Salute to Centennial Jack HUIDhrn inhrvielled bl LouÏJ ROlbout Japanese Art Treaaures by MiJeko Murale Editorill: Tbe Nell Mllizine "aster Woris in Canadr.: No. ? by Seylour Slive Pa'tlnt ot CalIIdl bJ ROJ Stroftl Art Scene in Canada - Toronto by David Ralston lIi11ill G.R. Hind Retrolpective bJ Russell Harper Art Scene in Canadl - Montreal b, Robert A,re CIllldian PliIltiDl 1850-1950 b, Clare Bice Th hint.er and the Nell Var Id bJ Robert Ayre Vol. III II , No. 3 (1102), Jul, 1966 Sund., Aft~rnooD bl Claude Breele by Bm, Lord An Ercitinc New Buildin, in C.Iur! bJ BarrJ Lord Bad du at Lona Belch (Calif.) by Robert Muru" Orilillli Tbinkinl in Letbbridle bJ hm Lord interviewed b, Barbara ROBe 1961 - The NOient of Truth for Clud lift CraCt. b, Smthins VerT real doculentation by Robert Snyder Dorotby Todd Henaut Art and architecture - a cO'lfused situation? hy Paul IrtBcl1I Arthur Record: Claude Brem talkin, IIi th Barr, Lord Lilin& th i nIB for Ilhat thel It! bJ Ji 11 Johnston Behind cloBed doorB: 1 vieil of Selinlr 66 b, Robert Vol. JJIV, No. 2 ('1051, FebruarJ 1967 Fulford tbe Nell TechnololJ and the Arts The life of deatb in London, Ontario bl Rae Davis Merico lB our artiatl find it bJ May Kbbitt Cutler Tecbnololl and environlent bJ Marsball McLuhan The chanliDi Kari tile Scene by Barry Lord Tbe senlorl dlnllics of new technoJol1 b, Arnold The cri tic and tbe artiBt br Andrew Hudson iockaan Gordin S.i tb intervielled by Tony bery Severini' 1 AbBtract Rhltbl of Madue S. bJ Joshua C. Bnricbinc tbe spiritual life br Peter Llriséy Taylor Kaster Vorka in Canada: No. 8 bJ Jean Bous Velvet Under,round in Halilton b, Barr, Lord Art Scene in Canada - Quebec br LJse Nantais Les Levine' 1 Sllpcover bJ Paul RUl8eJl Art Scene in Canada - Montreal by Robert Ayre Tbe electronic cOlputer: 1 new tool for tbe artlst br Art Seene in Canada - Winnipeg Leslie Mezei Record: Tbe Walling WOlin Micbael Snoll and Wendy artlcall lIicbener Record: Frol Futurisi to linetics di8cuBBio~ cbaired bJ BrJdon sim Vol. mu, Ho. 4 (1103), October 1966 Vol. urv, No. 3 (1106:, "arch 1967 Mannerist pabtinlS in Canada bJ Jobn SteelilD More about PicaBlo Tbe starcb for a universal plastic elpression bJ Br,don S.i th Guernica: pOlter and pllntinc b, (en Cnllberllln The (rozen lotion of Jehbs ZvHna b, Arnold Rocr.an Picllle'. Selted WOlin b, Brydon s.ith Ronald Bloore and contelporan art cri tici .. by Barry FauBtuB/Yelazquez/PiclBBo bJ Jobn An~·rson Lord artlclD Man and bis wor Id bJ Sir Herbert Reid Record: ArtiBts look It Picallo The raIe of tbe inscription iD paintinc by Jllel Rmey Vol. UIV, No. 4 (11071, April 1967 SOie notes on tbe visuaI art ot Horlln Vatel by Ji! Tbe Arta It Blpo Sait Art Seene in Canlda - Chariottetollll br Barry Lord Rlpo 61: a unique art fon by Donald F. Theall Mas ter Worka in Canada: No. 9 bJ Walter VitEthul bpo: the lpace fraie fair b, Jllel Acland Record: io lote Ben in conveultion wi th Alln Jarvis Piero di CoaÎla'. Vulean Ind AeolUi b1 GIde Vlruer G. Sbepberd Man and bis lIorld: one lin'. choiee bJ Edward P. LallioD ( 109 utscan Record: Wrndhll Le"il readiDi frol bil poetni ~ Tbe Masterpiece and the Public Itauh&ll McLuhan recalh blldbll Lm ••

Vol. IIIV, No. 5 ('1081, Ma, 1961 Vol. illY, No. 11 ('1151, Decelber 1967 Canada It Irpo Victorian Canada ievealed

Brpo: the Canadian buildinll b, Jlles Acland Drinkilll Tea in Rosedale b, Sco"t S,IOIII Canadian sculptora at Erpo b, Barry Lord l IIV IOle .0Ulei iD a drui by leevatin Devdlle, 3 Canadian Paintinll Daniel FovIer 1810-1894 h Ralp~ Alle! artlcan The eut-out Victorian toilet by Joh lIacGre,or and kecord: Canada at Rrpo Dum Puia arhcall Vol. mv, Nos. 6/7 ('109/110), June/July 1967 West-coast IIlBt-coas t art Vol. UV, Mo. 1 (tl16/11?), April 1968 Ilperlinence Miller Sri tain 1 s Saint John Hospital Cartoons by Barr, Lord MetalorpboBlB throulb Black bJ Taiebiko hui Vancouver: Scene Vith no scene by Philip Leider Tbe Need for Ilpenanem bJ HarveJ CONan Charlottetol/n's Robert Harris 1849-1919 br MoncrieCf Notes 011 Paper by John Perreault Vi 11 illson Delth il 10 Perlallent bJ Otto Pine lIn MacRachern' s Pbotocraphs of Saint John Violence. Art and tbe Alerican Vay br Kurt von Meier Tva HIliral artists: Brol 1 Thillato. bl David Gardner CIro l Fraser The Di_polable Tran_ient Inviroll.ent by Les Levine Charlotte Lindsren R.L. Bloore 011 PenalleDce Shaun Group A conversation on electronics. electroledia and artscan iaperlanence b, Aldo Talbellini Record: Son,s of Mlra.icbi Vol. UV, Mo. 2 (flI8/119), June 1968 Vol. XlIV, Nos. 8/9 ('111/1121, AUI/Sept 1967 sound alld ill,e Art southvest Ontario You should lee it "bell it's "orkilli. it's realll ,reat Jobn Andrevs' Scarborou,h Collele by Paul iuuell bJ Mlrjorie Barris Jordan Historical Museui of the TwentJ Sun Ra: SUI Icreens IIId soulld lilles by Tai Fiofori London (Ont.): a nev ruionalisi by Ross Woodun and Charlel Shabacoll John Cblllbers: recent vori b, Anne Brodzt, Fu,ue by 1I0tltan McLaren Sculpture '67 by Robert Fulford Motber. tun off the picture bJ Otto Piene artscan Word art Ind art word bJ Robert Wbite and Gar, Micbael Record: Fire bI John Cbuberai Tbe Nihilist Spasl Band Dault "Notice alao silence lounds·: tbe lIev vort of Yves Vol. UIV, No. 10 ('1131, October 1967 Gaucier bJ AnDe Brod'iJ Black Nine note. on notation b, Udo (asalets Calceoaril Icore by Udo IlIalt·tl Blaci a conversation betlleen Aldo Talbellini, Michael Mulical accru .. .raphic 1I0r •• Snov, Cecil Taylor, Ad Reinbardt, Arnold Rocilln, Stu Roci and Rolland the aVIlIt Ilrde br lurt von Meir Brooler and Harve, Covan Art ,allen iD the fac.torl by liil Crouvel arhcan Printlliin, scene ill Vancouver b, bn iosenberl yetter frol the Maritiles by MollJ Bobai Vol. ur V, No. 11 (1114), Nove.ber 196? Toward poetn .. 1 poular fon b, John Perreault St. Lawrence Hall, Tomto by Paul RUSBell ( Tbe Great Var l "Jndb .. Levis and tbe undercround press Art ,alleries: New concepts br David BorDe b, Sbeila Watson ArUsh 18 filillers bJ Ross Woodlan artscan Science in art in Bcience br Ledie Mezei 11~ ,j - PieDe Vol. UV, No. 3 (1120/121), Au,ust 1968 Audrn Capel Dom by IIichael Rhodes new collaborations/new ledia Li,it al architecture bJ Jam Acland PuI .. b1 Luc, R. Lipplrd Rntente Cordiale in San Francisco 01 Paule Natte Music and li,ht br Larr, Austin Anal il Dln Flavin b1 Ira Licht Tbe Arrolance of Art bl François Dallelret 10 Canadiln poet! on li.ht CO'Puter art by Leslie lleEei ReflectioDs of an artiat lurrounded bl BClenti.ts b, Plastics Anne-Iore Danieh Fusion des Arts in Montreal by "es iobil1ard on sculpture and 1aler bolo.rapbl: a statelent b, Art and technololJ in Ann Arbor br (evwatin Devdney Jefrr Peth iCI Tribute to DoUClas Duncan b, Alan Jarvis Mnwe 11 Ba tel b, Joh n Guhal About the falous Toronto drainpipe b1 Clael OldenbUri Art Mch, defmd in Ruina by Barr, ~ord Artist Power! Or ieviews Don't PlI the Rent br Barr, (hoota' 1 Sculpture b, Georle Bovmn, Lord John MacGre'Df by Gar, IIichael Dault Piles n, N.B. Tbinl COlpan, Canadian Artiatl '68 Science in art in science b, Leslie Mezei 48 hom in Montreal b, Gar, Michael !)aul t Artist-fillarers in IIontreal b, Gordon Shepherd McGiH Fil, Festival b7 Mor le, Marhon Reselrcb on Varlel Vol. UV, No. 4, 11122/123), oct/noy 1968 Science in art ln sCience by Lelllie Hem the nev education in the arts Vol. UV!, No. l, (tI28/129), February 1969 Blubaus by Marli t Staber about the National Galler, of Canada Cieanine the tenseR of perception b, E. Murra, Schfer The Nell Schoo} of Art: inll,bt-elplosions b, Vera Tie National Gallery b1 Jean Sutherland Bous Franiel Spa,hettie and ROles: ADocu.ent of an ilhlbit10n by Why l bate Icid roci br John B011e JerelJ AdalioD on teach ins ZOtb centur, art b, lurt von Meier ConserVitlon of the Conte.porarl b, Natban Sto low Rene"l at tbe Ontario Colleee of Art br Ab. Ba,efsh Recent Acquuitions: The National Gll1err Departlent Graphie desiln and education: four desi,ners spear out of Plints and DUI/in.s b, Hill TaJlor Nova Scotia Colle.e of Art b, Garr1 Neill Kennedr Recent AcquiBltlons: The National Galler,: Departlent The future of education in tbe artl b, Victor Dora, of Buropean Art bJ GJdt Shepherd Prehlinaries: a critical notebooi b, Gar, IIichael Notes ln reviel/ of Canadian Artlst; '68 bJ Luc, Dault Lippard Ra, &iloola b, Micbael Ondaatje Canadian Artuts '68 bl Barry Lord Recent acquisitions: The National Gallm Fills at Canadm Artilte '68 b, IIann, Parber Universities Art Association br IIar, Louile Funke Conte.porar, ieproduct1onl bJ AnthonJ BlerJ Penrose Annual Vol. 61 revieved b, Paul Arthur Qosenber, on violence ln art and otber lattera by A fillaier on fillarinl b, HorleJ Mari80n Harold iOlenber, Science in art in science br Leslie Mezei Fili Il an IDstrulent for loclal chanle by Dorotb, Todd Heoaut Vol.IIV, No. 5, ('124/127), Decelber 1968 Science in art in .cienct b, LuI e lleEU Thia iBlUe il about li&ht Vol. nVI, No. 2, (1Il0/1311 April J969 Thini about lilbt bJ Michael van RlIen Fi ve ,OUII' arti.t iD t~eir fnironlnt. The Iyth of li.ht b1 Northrop Fr1e Lawren Harris b, Denni. ieid More Vard. on Curnoe'! Worldl, Vorld bJ Jobn Nael Les Dieul descendus p!\rli noui b, Gerard ie,nier Cbandler Let there be darinell bJ Barry (,ord Glr, Lee-Non Nebr Licit bJ Robert Cree le, Fru.truas 1 Frauents and SpaceJ bl Alvin Bal'ind Tie lost paleantry of nature b1 G,orl, lepeE 1000 Vords b, GHry Gilbert Sculpture and li,it: Toronto and Montreal b, Nan R. John IIeredith: Punter b, Barr, Lord 111

( Walt Redin,er and Bd Zelenai Art MUleu.,: Recent Acquisition. ANote br John Noel Chandler A lot of ,ood ,UIS "ent do"n b, Victor Colelln Vol. UV!, No. 5, (1136/1J71, I)ctober 1969 Photo essaI b, Talio Vala,ala Ne" concepts of space, scale, tile, place Dr. B.J. Tholl': Winnipe, Collector br Job Guhl 7 question. + l on NicBael Bnol Dialolue at an erhibi tion of Yves Gaucher' B Grel Art MuseuI.: Recent AcquisItions: Paintin,s bJ John No~l Chandler SCience in art in science b, Leslie Mezei Perceptual Iletliel bJ Job Chalber. Fluorelcent li.ht, etc. frol Dan Flavia: a supplelent Vo). UVI, Ho. 3, 11132/133), June 1969 bJ Dan Flavin ~nd BrJdon Slith The Issue of elelents The lanluue of th eJes - W1ndo"s and Mirron b, Ross Mendes Iain Barter: Ne" Spaces b, Luc, R. Lippard Sl tin,: the problea of art in architecture by Barry Hans Halcle: Tbe Contlnuitl of Chanse b, John Noel Lord Chndler Robert Murral b, BrJdon Slith Sir Art: A note book for a booi b, Ot te Pim lib, Pa CI 1 MUleul? b1 Jan van der Narci Fire: Jobn Van Siun bl Villoughb, Shlrp Place and Process, Bdlonton The Canada Council Collect 1 on b1 RoSI! Voodun Four Bdlonton artists b7 NOfun Yate, Ron Tbol's Architecture for Trent Universitl b, Paul The Sacred and Profane in S'lbol1St Art by Hario Alaya Hmell "ohol,-Na" b, Richard iostelanet~ Relbrandt: A Question of Attributions b, Horst Gerlon Art Museu.l: Recent Acquisitions Notes b, a Pri vate Collector b, Ron lIoodm Mi 11er Brl ttaiD b, Blrr, Lord JurIen LutE b, Joan Mur ra, Tvo exhibition revievs b, Loan Lowndes Molinari b, Pierre Tbéber,e Science in art in science by Leslie Mezei Aweek at the Centre br Vera Frenlel Art MuseuIs: Recent Acquisitions Vol. UVl, No. 6, 11138/139), Decelber 1969 SCience ln art in science b, Lulie Meni Gran roots art in Canada

Vol. UVI, No. 4, (1134/135), August 1969 Maritiles bJ lan MacBachern and Gail Ta,lor About the graphIe arts Quebec b, lan MacBacherll and Gail Tallor Ontario: Roots b, raD KacBacherD and David HeFadden b + " : 3 b, Barr, Lord ODtario: Patterson' 1 tus in C~ecboslovaiia b, Pierre Micbael Morris IIles a book bl Kurt von Meier Théber,e Incoherent tboulbts on concrete poetr! b, John Noel Tbe Prairies: "ta alBert lan's presence" by Ronald L. Cbandler Bloore Margot Ar i ss: VerdI and thlnlB b, JObD Bruce B.e.: "l've ,ot to .et bacled up &laiast the bush" by llttle lalatlnes/slall presses 1969 bJ Micbael Tholas Ganer Ondaatje B. e.: Frol juni beap to mtle by Eberhard Otto Tpchnlcal difflcultles by Victor Colelan B.C.: In the laiutre.. b, Ronald L. Bloore The art of 'Iitatlns art by Horlan Da, SOie notes on lIIdiaD culture: A revie" by Douglas A Prlntlne House ln Hell: iiilhll Blake's TbeorJ of PriDde Art by Franl Carner POCA and tbe visual arts: bet"een oeficers - a revie" notes on a "Dlnaltl of Printers" b, Pat Martin Bates of the cllp&Ï.n h Vera FraDiel de loonine b, Robert Mari le Art MUleull: Recent Acquilitions Prlntlaiin, ln Cal,arl b, Willia. Mitchell The Guildf Graphique Rrhibition b, Joan Mur ra, Vol. IIVII, No. l, (t1401141), FebruarJ 1910 Canadlan Pr:ntuiers at Guelph bl Valter Bachinsi! On Perception the liaI ter Carsen Collection b, Paul Ilullell New Sculpture at Roth.ans Art Gallerl. Stratford b, ICOD and Ide! in the lIorld of Michael Sno" by Gene ( Doroth, Clleron YoulI,blood Ron Martin's nell paintinlB bl David iabinovitcb IIbitelLi.bt: avilit to Ronald Bloore and bis ne" Breatbine Brereiles: four revie". b, Dou,las Prin,le paiDtiD's b, Barr, Lord 112 .....,.. Gordon RaIner: the fnst decade b, Barrie Hale Tbe sculptor Tiitai b, Geor,! SlIlnton 11 Vouns Montreal Artists: An interview bJ Danielle Sound and Ila.e in tbe Lab b, Anne-Iore Tho.pson Corbeil notes on Jaci ïue b, Janl Vishlov The liberali81 of the Slredi;h art .ceoe br Gail Duter Grace Svarre • A Canadian altist in the jun,le. of Vol. IIVII, No. 4, tH6l147 , Au,ult 1970 Melico b, Erna Pari, art and ec,lou Art Mliseuls: Recent Acquisitions Exhibition RevievB Bcolo.ical notel on tbe OJibwar shalan-artlst bJ Se 11110 Dewdo!l Vol. Il VII , No. 2, t142/143 , April 1970 Dennis Oppenbeil: CatalYBl 1967·1970 The loviog iuge - current trends in Caudian Fila Interledia at Stratford: OThe Tendanry to Plal" b, John Noel Cbandler Tbe Future of the lovin, base b, RUlo McPhmon World Glle: tbe artist as ecolollst by G~ne ~oun~blood Qu'ert-ce que le cinna canadien? by André Paquet Poster: Bvid!nce 0; Interledla at the Vanrouver Art The nell Canadiln CIntU: iUles frol the a,e of paradol Galler, br Brad Robinson br Gene Youngblood Darnett NeVian (1905·19701 an apprpclatlon b1 Robert Challenge for change b, Patrick Watson Murray The qUlet revolution-fil. in education b, Roberta Tbe Group of Seven: Toronto anà Ottawa: Then and NOIl Charlesworth br Ronald L. Bloore Art and pollution: a proposaI b, Harler Parker Slll, Apple's Accululatlon Sil fil.llkers in searcb of an alternatIve b, Terry Art Education: The Elliott Lare EIpement b, Paul Ryan SUllersrill Nine fill anilltors speak, introductolt 'lote by GU1 TerrI Reid: Recent Sculpture b1 Ian Wallace Glaver Anybody lakin, shorts theBe da,.t b, GU1 L. Cote Vol. UVII, No. 5, '148/149, Oct/Nov 1970 Charles GasDon, painter, filliaier, 35 lem old,lives Worrs 'Iostlrl on paper - Drawlng reconsldered in Montreal b, Danielle Corbeil "There is only one Joyce" b, P. Adaas Sitney Dravine reconBldered b, Jobn Noel Chandler Filliaiers in Edlonton: ln intenl report by NOrlan On tbe evolutlon of Jobn Cbllber's perceptuaJ reall!!1 YItes by Doris Sbadbolt Tbe independant fibuler: a vest coast VieW by Cbrlstopher Pratt: photo essa, and words by John Werner Ae 11en Reeves New fil in Toronto by Douglas Pringle Lausanne 1 Venlce, SU.ler '10: The crlBIB of Canada The SO-second capital br DaVld MaclaY International, Part 1: Lausanne br Dorotny Cueron A profession!l li tbocr!phr worksbop b, Gerald Fer,u8on Prints and drawl~gs: SOie Dew approaches b, Pe,., Maxwell Bates b, P.i. Page Slith Space as lorahtr: Lavren Harris br Kirin Waddington Tbe people ln lan MacEachern's Plctures bJ Bam Lord TirO "Laut,edicbte" singera: YH:tor Cole"n and bp Al Razutis' fila Ileon by Andreas Schroeder Nichol b1 Pat Martin Bates Two Refina artlsts: Patard and Lalbert-iellr br CJrde S. McComll Vol. UVIl, No. 3, t144/145, June 1970 Ron Marti~ at the 20120 Galler,. London b, ROBS Interactions: photo,raphy /paintinc/sculpture Woodun Allen Slpp: PllntulB b1 Robert K. Pem val The Eleven O/CIoci Nevs in Colour b, Barr1 Lord lonulent. 70 Photocraphr into Sculpture bl Peter C. Bunnell Notel on tbe new MI rvi sh Gall er, bl Harvel Cowan An Brnest Lindner Retrospective b, C.S. MeConnel1 In tbe Galleries, Montreal br Bur1 Lord Anote on Ernest Lindner bJ Ronald L. Bloore Tbe archltectural VlSlon of Paolo Solerl b, Carol GaUie Fali Zelel Glen Lewis Ronald Bladen/Robert Murra, by Dorotb, Cueron VoI.I1VI, No. 6, '150/151, Dec. 1970/Jan. 1971 Jaci Busb b1 Terry Fenton on tbe nature of Il ft. ATribute to Siluel Zacrs b, ibeodore Allen Helnricb 113

notes on li fts hl Vera Freniel Jules Olitsii's sculpture by Michael Greenwood ai fts to the ,ods by Caro 1 Zml in tbe lallerles. Montreal by Catherine Bates not bJ bread alone by hleen Tbalenber, An Open Letter to the Priae Hinister br Jerrold Horris on tbe nature of lifts: three aspects ". in European culture by B.A. Hicii-Szabo Vol. nvItI, No. 2, 1154/155, April/Kay 1971 '" Ln Chinese culture b, Dr. Hsio-Yen Sbih the sacred in art ".ln Nortb Pacifie Coast culture by Dr. R.S. io,ers BOle thoulbts-theoretical and practical-on lifts Bliposiul on the sacred in art !rtlBts llke by Clyde McConnell ICON: Studies in content - the life of forls by Gyde SUller '70 Vanier Shepherd The Cruis of Canada International. Part 2: Veniee by Dariin~ad the Brllhtdaller: Trans.utatlon S'lboliSI ln Dorothy ruerOI! tbe Vori oC Pat Martin Bates br P.l. Page Car 1 Andre: art as a soc ul faet by Rnno Deve ling Reunion wIth fonT Urquhart by Dorothy Caleron look at Iy product The luI tiplici t, 0 f Harold Town br Robert Fulford notes, lore or l~Bs, speciflc on J1I Olne by Victor About Foci br IBtvan Anhalt Go 1eun The third locled rool: Relelberln, Albert Du.ouchel by Chronlcles of Hel! reVlewed by Pat Martin Bates Vera Fren!el Process Hyphen Product by Joan ~owndes The Selantics of Concept Art br Irwin and Myrna Gopnlk Hector GUllard by Ronald Conrad Art and its Social Responsibilities by IrWin dnd Hyrna ln the 8allerles, Toronto b, Gary MIchael Dault Gopnii an open letter to artlsts in the salleries, Montreal br Irwin and Myrna Gopnik The David MI rVlsb opening sboll by Terry Fenton Man Baters and Pretty Ladies br Gary Walters JObn BorIe and John Leonard by Barry Lord in tbe calleneB, Toronto b, Gary Michael DauIt the Concours artistique du Quebec 1970 by Barry Lord David SuUa by Michael Greenwood Alex Wyse by Carol 2elel Moll, Lub Bohal by Mlchael Greenllood "The lost beauttful book in the world": two views br Bill McRlcheran by Bric Freifeld Abraha. Rotsteln and Greg Curnoe Robert Downln, by Theodore A. Heinrich HanciDIS: The Art GlLllen 0 f Ontario VOL. XXVIII, No. l, 1152/153, Feb/March 1971 Two Albertans b, Clyde McConnell artlsts and audlences Marvin Jones, Middle Alencan by Clyde McConnell The Bdlonton Scene b, Alasdait D~nlop conversatIons with four Montreal artists by Beverly The Spiral Jetty Is A Verb! by Dennis Wheeler Carter Daglish, Goldberc and Morri s at tbe Vancouver Art Sundogs ln the SkI: sOie artists and buildings iD two Galler, bJ Brad Robinson P!!lirie citles br Barry Lord Jack Shadbolt bJ Har,uerite Pinne, TATAOUjTATTOV/TATAUjTATTOO=TO KARK br Luie ROlbout John McCracien b, Michael Rhodes B CAlmar (Hl C B by Barry ~ord Nell Booh on Canadian Art by Ronald L. BIoore Convergln! on Michael 8now's La Region centrale Rev 1 ews: Vol. Il VIII , No. 3, t156/l57, June/July 1971 Claude Bree~e: Drawinls by JoaD l..owndes West Coast Artists: LHe Styles hIoOla' B Stoned Gloves and Georle sawchuck. by Marguerite Penner COPACIFIC SOie artlsts in Resina and SaBlatoon by Terry Fenton Rlil, Carr: Le,end and Re.litl bJ Doris Shadbolt Otto ROiers b, Clyde McConnell Our Beautiful West Coast Thini bJ Gary Lee-Nova The Twelrth Winnipeg Show by Hicbael Greenlood ieepin( it to,ether in Vancouver: The search for Vllilai VIEan's Taped Sculpture Court alternatives by John Buckle, Herb Arliss by John Bruce Correspondence! bJ Albie Muldavin and John Noel Les Levine' s Culture Hero Muterprint b, Barrie Hale Chandler DaVid Hockney and Grill' s FairI Tales br Gary Michael The sculpture of Carl and Heidi Bucher bJ Henri Barras Dault Articles of Belief: The nell sculpture of ROlden ln tbe sallenes, Toronto br Gary Michael DanIt iabinovi tch by Gary Micbae l Daul t Anthon: Caro's Clear~ b, Neil Marsball The Artical Poles (in? Bteps) Ronald Bioore b, Hyrna 114 ...... Gopnii and Irllin Gopnil Prolrallatic Lilitations of Color: 1. The lodulated three erhibitions, Montreal br Myrna Gopnik and Irllin lonochroles of KUls Varnelis 1 Z. The cbrollltir lIaves Gopnii of Silne Nelson b, Jan van der Haret

in tbe salleries. Toronto br Garr Micbael Dault Kenneth Lochhead: ft AIl colora a suffusion frol that Jaci Bush br Micbael Greenllood light" bl Michael Greenllood The Razor's Rdse: Kosso BIoul by Tbeodore Allen Gersbon Iskollitz br Peter Mellen Peinrich New palntincs bl Avedlsian br Barbara Rose Pol Bury: Galeslaster by Tbeodore Allen heinricb Recent wort bl Ibor DIytrut b1 Mrra Davies Painting 'Frol Life": Greg Curnoe b, John Noel Roland Oichet by Sarah H, McCutcheon Chandler Current erpress10ns in contelporarl Czech art by Ivan Painters Eleven by Peter Mellen JirouB Char lotte Lindgren bl John Il. Grabat Rrcerpts frol Czecboslovakian portion of "The Magic: Mandalas: Moods: Jacl Wise b, Judith Copithorne Peregrinations and Perlutations of & Vouns Artlst ln Iain Balter (N.E. Thini Co. Ltd.l by Joan LOllndes Canada" br John B, Boyle Harry Ki1001a by Joan LOllndes Accounts pa1able: a lelO to everyone about parlni the Collage Show by Judy Villials Fraser ~ by Geoffrel Rans ~ideo Hrchange Directory Vol. XXVIII, No, 4, tI58f159, Aug/Sept 1971 Letter frol Halifar by DaVid Sellell A fraglle condltion by Theodora Allen Heinrich Wieland: An Bpiphany of North b, Hugo McPherson FrOI the "deck" at North Surrey: landscape and fuure Vol. nVIIl, No. 6, tl62/163, Dec J97I/Jan 1972 in the art of Claude Breeze by Barr, Lord Tbe RsilIO Vor Id Generative Architecture: Moshe Safdle br Mrrna Gopnik and Irllin Gopnik Laient for tbe Dorsets b, Al PLrdy "arden's lightlsound escalator at Yorl Universit" found art - and frozen by ~lllilm H, Taylor, Jr. Toron to br Hicbae l Greenllood to sain a sense of presence - to tlnd a sense of Notre Dale in Montreal by Alan GOllans urgency by Ronald L. Bloore Tbe Baldwin Street Gallery of Photography by John F, Arctic ROlance by Al Purdy Phillips and Laura Jones ContlnuitleE in Ralilo grapblC stll~ ~I Joan M. Jall Dibbets in conversation ",!th Cbar lotte TOllnsend Vastoiu Vords on Mlchael Snoll by Karl Beveridge Tent Rlngs by AI Purdy Forl-Ilage Replicas: Hurray Favro by Keewatin Dewdney REiilo art reconsidered by George 8, SlIlnton Movi ng liages 0 f Man by Terry Ryan Our Ladl 0 f the Snolls br Uer Spa Id lni N-Zone Continued by Henry Zelel Conteiporarl arts in non-western socleties by Recital br TOI Graff by Lloyd Dyii Jacqueline Delant a FrI Daniel Sololon by Micbael Greenwood Doctor Faust and the VOlan ln the Sea by Alex 8paldlng Roy KenEie Kiyoola by Gerry Gilbert Janus in Baffinland by Jobn Noel Cbandler Vhat about aIl tbese buildings l BlgDS b1 Victor Tbe ESlilo Mùseui at Churcblll, Manitoba by George S. Colelan Swinton David Rabinovitch by Gary Michael Dault Notes on tbe Calbridg~ University CollectIon. BOle Jean-Paul Riopelle: Poet of the Siin br Michael unique pieces by Grahal V. Rovle, Greenwood Tbe OpeniDI of 'Sculpture of the Inuit: HaEterllorls of The Sai and Ayala ZacIs Collection br Mario Ala,a tbe Canadian Arctic· Notps on Picabia by Greg Curnoe Maiine the Point b, Philip Fr, Vuillard', Mother and Sllter Palntln,s and the ~~l. UVIII, No, 5, 1160/161, Oct/Nov 1971 SIlbolist Theatre Br Deorle L. Mauner the presence of color Mondrian ln Nell York br Robert p, Velsb Vera Frenkel: Printlaline Plus b, Joan Lovndes The Colors of MOllochrole: an introduction to tbe Greetines frai liage 8ani br Michael MorriS seduct ion of reduction by John Noel Chandler Canadian ArtistB Representation (CAR! Conference Seein~ iB Believing: Yves Gaucher's Dew palntings br an ilpreBsion of tbe CAR Conference br Geoffrey Rans ~yr,,:& Gopnik and Irwin Gopnil Tbe Vaudreuil Conference: lIill artlstB of Quebec 115

U.Ule th rD le of a nev priuthood bJ Frlnçob GilnoD ne Ialm of SUlinne Svibold b, Barbarl COllfillO Prolo,ue, Settinc. Prelude ,nd Pulue. Portrait of the Val ter RediDcer b, Peter lIeHen Portraitilt. Ipilolue b, Alvin Bilkind Art Il 1 TecbDique or IIIOIlÎDI: th vork of AIltkODJ West '1 J b, Cl,de KcComll Beaj.lill b, lelilet. Coutt,-Slith 'rthr BIDd,'. Nev Sculpture b, Blrrie Hale Vol. 11U, No. 1, 1164/165, 'eb/llir 1972 lIoatrer AlI bl Il,rnl Gopllik IDd Ir.il Gopnik fi,uru in the IlDd Art Probe. 'ancounr b, rOI, I.er, COlltelporar, Cerilici II. rokro b, Victor Ciclnlk, John BOJle b, Nichael Greellvood rhe Kemaine. No" Scotil Colleee of Art a Deli'lI lettm purportin, to be abt tOI tiollon b, ROJ 1. IIi t. 1 note b, Chrlotte rovuelld liJooka Art Ind the Court.: 'rince Ind Bllhnd rrol 1259 to Tbe artist in tbe landscape: Robin Mackenzie b, Jobn 1328 b, ADdr11 Sleclko Noe 1 Cblnd 1er rhe OrlliiDIS of Brlnt Lindner br fermce Belth ollb tlke for Irallted the tUn .. that fOU cali toucb b, Li.e Garrli. at Gilerie de Montréal br 'rlnqois Gllnon TOI BurroN' note. OD recent IhoVI b, Girl Michael Dlul t Pales 15,16.17.18 of Canada's Natural Mallzine b, Art IIcl". Rooh. Ruinl 'ive br David Zack IIi cbae 1 deCourc, Corrupolldencn b, Judith Copithorne Paul Red-Beard: A Canadiln Hero b, Theodore Allen Letendre ill Sin Francisco br Phil Linbare. Heillrich Balifar - Vancouver Irehan,e br Joan Lo~ndes Native Art ot Nortb Aleriea: a reviev article b, JOID M. Vutokas Vol. 1111, No. 3, ,U9/UO/m, Ilrl, autuln 1972 The Chilkoot Brperience bJ JOln Lovndes prlirie ,plcel and places Glenn Toppillis photos b, Tlki Bluelinler/pl,e b, Granville Gran,e Ind Coacbboule Pre .. IOle prlirie poell lIords for (Hm Toppill,. b, ron, Baer, Tile Ind Pliee in the Western Interior br John Unsheltered Art Students Discover rhellelves b, John IflrielltiD Noel Chlndler Ira,1 eaten bl III e,il drell b, Kia Illlvinkl Robert Hedrick b, Barrie BaIe Prairie IDlce dravin .. b, PHlip 'r,/Tbe Opthalaia Sirtb BurnabJ Print Shov b, JOIII Lovlldu COlplllllSUlh 'Iter François Dallecret: a catalo,ue Nm loh. br Peter lote on Beltb.'1 recent Iculpture b, Terrence Beath Blake Ru •• luriltr. hil notel. Itoaeboltl. elephlntl Ind TonY Tllcolla b, Philip Fr, friendl Inollinl: the Burface b, Victor Colelll Doroth lnoll1el b, Terrenee Belth The continleneies of color and fOrl: Ru Ralles b, TreltJ Nu.ben 23, m .11? 1 b, Jacqueline De laue Fr, Valter Klepac Ut. Amal CaIlar, Griphici Sb 011 b1 Dennil Illiot No Ruerve! for the Nell Ind ilns b, Robin llackenie rhe GrlDd Wutern CIDIdiln Screell Shop b, PHli, Pry fillVelt in t.e IIUt b, Norlln Yatel Vol. Il Il , No. 2, '166/161/168, Sprinl 1972 IfI.OURSILVIS.ROUGHLY.INOIf.SOKBTBING bJ Clive Robertson tableaul - Plul Woodrol rhe Grelt Clnldiln Super Sh~ bl laren Wilkin IIitb DIVid Gilboob iD the frol vorld b, Ger, Kichlel lindinlkr'i ·collic lounds" b, Mic.lel Greenllood Dlult lIontreal: plui or linUI? b, Glr, Michel DluIt Joseph 'aflrd doculentltion b, Iber~lrd Otto lev Gilleriu in VlDcouYer b, JOln Londe. Bob (inlont: tbe artiBt lB telcher b, John Noel Ifillill Pereudofl: recent ,dntin,. b, llren ,min Chandler Jobert NIDItieid b, Slrlh Yate. Chris Voods b, Blillbeth Gerver SotolTbepotlClllejllBlldea b, Micblel Greenvood fableau is her fora: Gathie Fall b, Doril Shadbolt Vievl 011 LeROY'1 Iculpture br Glr, Michael DIUlt, br spatial dialectlcB in the sculpture of ,eorle lela1 b, "'fIIl Illd Irllin Gopni~ Jan van der Marck book reyi~vl bl Moncriefl lfillilllOIl ( flark Prent b, Nichae 1 Grten"ood Colette Vbiten: her lIorkiu Ind vork b, Joh Noel Chlndler 116

Vol. 1111, No. 4, '172/173, OetlNov 1972 SIbia PalchiDllki: 1 letter notel tOVird. 1 Dev lutbtie Ric~ard Priaoe br A,iI LIli' Romber, Robert Sinclair: Pertailill' to WUte b, IIren Wi nia note. tOllar.1 1 Dev Ielt~etic bJ Joh Moel Chadler t~e learc~ for DIV tOrii: Ilia Interlund loulphre Ind doea.eatl 5 b7 Cbrlotte 'ollDleld drlllin.1 br Joh lIoel C~alldler hl.er of tU: On fie" iD Loadon Ild Venice br Doroth, Qllebec pahU ... 1953·5& - 1 turailll poillt br 'rançoit Clleron Gllnoll !!:!! br JOln LOVDdea Cllude fouinaIt br Luc d' Ibenille 1I0reau The St CltheriDei Billboard Shv br Robert JOhnl 10D of ToroDto Pahtiu U53-&5 br Blrrie Hale video reclcled b, ReDee Biert 'ke art IIId Wel tanlchlUlllll of Bertral Blookar b, Jo,ce Thee PiiDtera br IlreD Imil Zellnl Briln Nenlll b, Terrence Heat~ lourcel are reloureea: Grea Curnoe '1 object.! iD the 'IHeriei • "orolto br Merite 'eiler, br JOJce objectiYeI lad objectioDI b, Joh Noel Cklndler Znlna, br Thodore Allen Heinrie~ Spencer/lubotl/Preifeld br lIeriie leiler A letter fro. Gille, 'oapiD DIYid lIilne, 1111·1915 b, Joree Zellnl Facultl Brhibition Non Scotil Collue of Art Ind thee prairie piecn b, 'errence Heatb Desi,n AfriclD Iculpture Crol Clnadiln collections br Ro, fiUi .. TovllIeDd Paintin'I 1964 to 1968 Sieber book revie". br Monerieff ,miallol Hidden Treuurel fm Central Alrica br Theodore Allen Heiuicb Vol. IlIl , No. 5, 11141115, Dec lm/Jin 1913 book rniella br Jih larieDtin Ind MODcrieff "illiaIIIlD Me.orial dedicltion to Alan Jania br HUlo "cP~erlOD J .B.H. MlcDonald'. lest lDdiln Journll artlelnldl Illies Ind IIord. trol Spence BIl, N.V.T. h, Pli Hlrri. and Judr McGrath Vol. III, No. Z, 1118/1?9, III' 197 3 Christilne Pfli, br Mar, Allodi ,heu Albi,uoui l'lin Pellan, Borduis and the Autolatistes hl François Ga,DOII Louil de Minl'fille br Nick JOhDlOD Appel: th roaantic endare. b, Michel Greenliood l"n Ine b, 'errence Heat~ "urm Laufer Ind the art of .cenic desiln br MUlh 'onl Urgahart bJ JOln H. Vlltoill Hood Colette IUten b, Connie Hi tzeroth The BUller of '12lrhe Sprinein, of 1984 bJ Vic d'Or Nancl GrlYU b7 lIil lalninh Toni Onley br Ann iOlenberl David Bolduc b, lIichlel Greenvood Clyde HeConnell intervielled b, Paul Woodrolt Harlte 11 Batu bl JOln Lowndet in t~e ,aHerin • 'oronto br 'beodore Allen Heinrich, APrai rie Sweet br Bruce FerllIIOn br Merike Weiler, b7 J07ee Zelln. 'ed Codllin l John Nu,ent b, Termce Heath An luthentie bIuhaus lin: lurt IraDE br \'beodore Allen Tke Ruha Cerllilta br 'errenee Heath Heinrich Bartb ViiioDa b, Shirler Clarke Betty Good"in. TIUor Brtraordinaire b, Gilles Toupin Quebec UlldmrouDd b, Robert Johl a letter frol Gille! 'oupin UDder 35 br Georle Dreu book revie" br Micbae 1 Greenllood Rnitll IDd Notel b, Jo,ce Zeml, lIeriie Weiler AMedienl Glr land b, Tbeodore Allen Heinrieb Vol. Ill, No. l, '176/117, Peb/Narch lm Pontlinebleau bJ "heodore Allen Beillric~ KourCei Ind ob.tructioDl Vol. III, No. 3, '180/181, Au,ult 1973 Gunt Bdi torill: On the lource. of art aDd i ta A Domellt of Smi val obstruction. br Jobn Noel Chlndler Inaide tbe tenle of killed or born Itones b, Hil David lIilne - bie journal and lette ra of 1920 and 1911 IaIavinka Ceubon I1kowi tE br Roald JlII,lIrd Dean BIlii b, DeDllil lieeler GordoD Sim b, JOID LoltDdea The emic landsclpn of Otto Ro,ers b, Termce Heath Sound/Sculptare br JOIII LOllndel ( 118 Borcolan The cbancin. illle: prÏlltl br Francilco GOll b, David Valier hlnl, Robert Frani and the landlclpe of Burnett diuociation bJ Willill Stott Blroque bronzes It the iON b, Theodore Allen Heinrich The portraits of DUDCln DonoVlllrCit, IIori It countn Yve. çlueher at tbe Nev Yori Cultural Center bJ Dore pricu' b, Jennifer Harper A.btoD PhotonaphY/1 bldc bibliocuphl br Geoffre, Jlle. Reviell' frol Montreal, Toronto 1 Vinnipec 1 Bdlonton and Henn Moore Ind the reopenin, oC the Art Gillen of Vallcouver Ontario b, Roald MUliard Review. frol New Yori, Vancouver, Bdlonton, CalCIn, VoL IlII 1, 110. 3, 1200/%01, Autuln 1975 Winnipe" London, Toronto, Montreal Ind Balifu The ClJlldi.n cultural revolution

Vol. Il II 1, No. l, '196/197, March 1975 The Clnadian cultural revolution: An appraisal of the SOie aspect8 of nev paintiDl politici l eeonolics of art bJ Dale HcConath, 1. Art Bank The Canadian CanViI b, Michel GreeDllood 2. Th! Art Bank Bffect Four Da,. in Vancouver and Victoria hl Charln Sbere 3. The Dollar Value of Art Sri ti sh Paintinc '74 b, Michael Greenwood 4. The Horizontal MOllie John Meredi th bl 'l'heodore Allen Heinrich 5. Tbe Patron-PoliticiaDS Paterson Hm bl Nick Johnson 6. Renon Over Pallion TIlO choreo,raphers b, 8eboraà JOlLitt 7. 50 Or 80 1I10deat PropolllB Reich: anti-ideas and counter-idell b, Peter Perrin 8. LoohDl Aheld COllents b, others Albert Franck, Notre-Dale de Quebec and ot~er nell boois b, Gm Michael Dlul t Vol. lllII, No. 4, 'ZOZ/Z03, Vin ter 1975-76 Ontario Tom bl Jobn VarkentÎII Behen paintinl and poetrJ: Vile and (hoola Joan Prici b, Robert Silain Judith Cumlll b, Nici John8on Ducons. IIndal .. and le cret vritinU: The paintinc of Revielll frol Vancouver, Call1fl, Vinnipu, Toronto. J aci Vile bJ Geor,e "oodcoei Montreal and the Maritiles Laucbter: Fi ve conversation vi th ROT liloola b, Gerry Hdi ti ons 1 br Loretta Yar low Gilbert The architectural hri tlle of Montreal bl Ph,llis Vl)l. IIUI, No. 2, 1198/199, June 1975 Lalbert The artist as bistorilll Donald Judd b, David Burnett Relief Structurel: Blizabetb Williott and David Barr David GilboolJ' s Mythanthropl b, Dale McConathl b, Michael Greenllood and the native Renaimnce b, JOln N. Loui. de Niverville' 1 nell paintin .. b, Dale NcConath, Vlltohs A visit to Nellfoundllnd b, Joe Bodolai The activitJ of art: a personal renollle to HBton b, Revim frol Toronto 1 Ottllli. Montreal, Jaci Sbadbolt London/Windsor, Cal'IU, Vinnipe" Vancouver, An introduction ta BOlle lB historiolrapber b, Micbael Brantford Greenwood Book Revitlls b, Jean Sutherland Bous, Peter Perrin, Point in tile bl Jobn BD, le Ibrabil Il. MUhalli, Selw,n De\jdne" John Varkentin The uses and trandouation of biltorr in the vori of Bloore and Snoll b, Rohert Arn Vol. IIIIII, No. 1, 1204/205, April/Mal 1976 leepin, Tile: sOie notes on Reinhardt. slm.on and To Celebrate DrlVin, Silonds b, Dale NcConltb, The eOlpoBer lB hiBtorian: 'a tbele for IUBic. and tàe The Hn lad the Rand: Til Vh i ten, Ernest Linder, lonu of un to cou" bl Peter Perrin Walter Murch b, Dale MeConath, Boois SOie dravinCB bz Jack Cbalbers bJ David Burnett African Art in Motion b, Joan M. Vlltohl Recent dravinlB br Tony Urquhart br Joe Bodolai { AJoseph Cornell Aibui br Gar, Nichael Dault 111 Denins du iuebec b, Joh N"e 1 Chandler ". The Histon of PaifttiD. in Canada br Joan Londes Reviell. frol Baliru. Montreal. Toronto. London. Tbree Public BIhibitions Idlonton. Vancouver lIT

Daniel SoloaoD b, Roald Nal'llrd Revielfl 4 Sculptora b, Roald Nal,aard Vancoum b, Joan Lmde. VilH .. Towftlend 1902-1913 br David SUcoz Callln b, Bruce Per,uloll Vinnipe. b, ferrence Heatb Vol. lU, No. 4, 1182/183, October 1973 Torol1o b, ROlld Na"lIrd tke inue of video art ill!.!!. b, Hu,o KcPhmon MOlltreal b, Joe Bodolai The FOrl ud Seille 0 f Video b, Robert Ara Baliral br Rick JIIU Rlbrid br GlrJ Lee-lioVi Ind Al RllUtil Ne" Yori b, Carol Zeul LiBteninc to YTi br Bruce Panoll. VOlen l Video b, Carol Zelel Vol. 1I1l, Mo. l, '1881189, Sprin, 1974 PAIl GILLET'! DOVNBY: Proce.. and Ritual bJ David ROll On Mapl and Mappi n, Vancouver: Videofreerainforeat bJ Gerr, Gilbert alld Taki Blues Sin,er ne Sblpe of Canada b, Joh Wlrtentin ToilO: Video Hiroba b, Fujiio Nah'l lIappilll Tile - Vera Preaiel br Peter Perrin Calcan: V.O.R.l.S. b, Paul Voodrol! ne Mnill Ile - Man CI Grave. b, iobert Arn Toronto: Joe Bodolai interviewi Joe Bodolai Reflectim oD/of Snow bJ JO~1l Noe 1 C~andlet N.B. Thin, Co. Ltd. b, JOJce ZeiaDl Claude Breeze: Calldian Ath. b, ioald NUllard Video at NSCAD b, Glrr, Neill lenned, 80rderlinn br JO! Bodolai The Val of th Tube b, Garr, ZeIdin Vi Bial Vilu: ail interview b, Dan Tooker Video Rin, b, Blie Ha,den and Bd Pitz,erald Book Revievl bJ Joan ". Vastoru and Nicbae 1 Greenwood Montreal: Decentrllization of ,ilull production bJ Joe Bodolai Ind hobeI Ben, Vol. 1111, No. Z, 1190/191, Autuln 1914 The Canldian Presence in ParÏII b, JOln Londes Sculpture: a rebirtb ot ltumi'l Fernande Saint-llartin et le MAC b, HUlo NcPherson Boucherville Montreal Toronto London 1973 b, Roaid lIalter Rediuer: MIIB, structure and letaphor b, NlI'lard Robert Am On Seeinl Dance b, Deborah Jowitt Robert Murrl!: Allhat th lIonulnt b, lIichel Green"ood Vol. lU, MOB. 5. 6, 1184/185/186/187, Sculpture: A rebirth of hUlalli.1 ln art8canada Dec m3/Jan 1974 Ir.poliul Stonea, bones l Biia: Ri tuaI and Shallnic Art National Science LibrarJ: Art in Architecture b, Doulla. S. iichard.on Bditorial: AThirtieth Anniversau lIenlle Veit Cout Iculpture bJ JoaR LOlfnde. Booh aad COlltillui tiu b, Peter T. Punt The Pend ve Turtie b, Terrenae Heath bits of dou,h, twila of fire br Nick JohllBon Benthll" Prairie Sculpture. b, Hu,o McP~erlon Volf Collar b, Ted Braller Char ln Gllllon: Tbe cOlpleat artist b, 8u,o KcPhmon Nepali Shun's Perfonallee br John T. Hitchcock The hland Laie Proiect br Jacqueline Delanle Pr, Sound. and Voices frol Our People b, AlalliB ObolSlwin Firth Fair in Bue! Vam Calabash b, Johannes lIilbert Sculpture: Artpar., 1974 Kwakiutl Vinter Dancel b, Peter L. NacNair Potlatch at Alert Bal b, Peter L. NacNair Vol. 1111, 1101. 3 l 4, '192/193/194/195, nec 1974 Queen Charlotte Islandl photos b, Iberhard Otto An inquiry into the authetici or photoaraph, Shnnic Tree of Life b, Joan K. Vlltotas Muiapi Natut.biialls b, Alita Podolill.h lIebber adi torial Baier Laie b, 1. J. Butler and la, Brid,e iespondiDl to photocrapbl/a Caudan portfolio b, Stones, bom 1 slin b, Nia lalavinra aad Cecilio Geoffre, Jalel Garcia-Calarillo rhe NatioDal Galleu photo,rapbic collection/a vital Jack Shadbolt br Geor,e Voodcoci ru Duree br Peter C. BUDnell ASha.anic Antholocy b, Jerole iothenber, and Deliai. 135 ,elU of pboto,rapby/23 photo.uphl frol the Tedloci National GalIen of Canada Mortbvest Cout ArtiBts Toda, bJ Peter L. MacNair Puri .. venui pictorialili/the 135 n&rl IIlr b, Jlles lU Ain latz b, ROll lIoodlln Vol. 111111, No. 2, '206/207, Jul,/Au. 1916 KiljeDio Borvlt bJ 1111 ter lleplc Fo~u. on Montreal Vol. 111111, Ho • • , '210/211, Dec 1976/JaD 1971 Ail intillte cOIi:ullication to Il dur Modes of repreleDtltioDl1 Irt Criend./Col,unicltion intile à le. c.er. Ilii b, Plul­ bile Borduil Beprelentltional Art b, Michael Greenvood Québec ?S/Artl:! - Irene Vhittole. Chrillnudnn. Belli .. , Naturali .. Ind Srlbolill Ser,e Tousi,naat b, David Burnett roulrd. a Definition of Reali •• The "ontreal "um. of Fille Arts and tie iuue of CUfrent Representationll Art delocratiEation: Buildin, versus Collection b, JOla M. Duane Hanlon and Joseph Rlffael Vastokas Chriltopher Prltt Pierre Booeaert8 b, Valter Kleplc Aler Colville Betty Goodwin b, Wilter Ileplc Jlck Cha.ber. Corridart: instant archaeololl iD lIontreal bl Dale Bpilo'ue MeConath, Weltern Triptlcb by Joan LOllndes Review8 The art of Goodrid.e Roberts b, 111 Woods Guido Molinari bJ René Pa,lnt The "precociousne88: of Guido Molinari by François Jean-Paul Riopelle b, iené PI,ant Ga,non Claude fousi,nant b, Walter Ilepac ievievs JUdl Willial., Glenn Hovarth, Robin Halor, Lavren Vol. IIXIII, No. 3, 1208/209, Oct/Nov 1976 Barris by Steve CU.lin., Arch i tecture Il cultural erprellion Grabal Pelcoek bl Helen Collinson Til Vhiten, Mari Tobel, I.M. Grabal, Jobn Anderson, ( ArchItecture as cultural eJpression: Arthur irickson Gbittl CliserIID-Rot~ b, Tbeodore Allen Heinrich and the nev Museui of AnthropololJ. UBC br JOln M. Donald Judd, Robin Bell. Dou.la! Bentba. by David Vastokas Burnett Chan Chan, Peru: Art and architecture of the CHlu Hellier MacOonal.. bJ Bileen Thalenberc civilization br lent C. Da, ion Martin bJ Valter Ileplc Sbelter: Plannin, for self-belp housin, b, John Noel David Sorenlen, Forui 16, The Montreal "useui of Fine Cbandler Arts br Sarah IIcCutcheon The lIort oC Douglas Cardinal: An evolvin, IDdian Russell Gordon b, G.R. WIl ters architecture? bJ Abrabal ROlatnick and Alvin Balkind Frank Lapointe. Gerald Squires bJ Peter Be 11 Caver ta Cover: Abook bl Hichae l Bnov br Peter Perrin Gordon Sii ~b: 3 vievs b, Joan LOllndes Vol. IIIIV, No. 1, 1212/213, March/April 1977 Caro and tbe picturesque bJ Hicbael Greenvood Three AbBtract Painters: Bush/Ronald/Bloore The XXXVIII Venlee Biennale, !976 bJ Theodore Allen Heinrich Jack Busb: a retrospective, Ronald Bloore: nev Revievs BlElntine Lichts and other paintin,s, SOie aspects of 17 Canadian Artists: A Protean View b, John Noel lIillia. Bonald b, Theodore Allen Heinnch Chandler Art, Love and Folitics; 1 prealble b, Vera Freniel TsutSUIU: Tbe Art of the Japanese Packue br Joan Till 'hiele: latin, life and art one by Bileen Lovndu Thalenber. Stephen Cruise by Joan Lovndes Ontario Colle,e of Art: 100 Jearl br iobert Hedrick Chan,es: 11 Arti.ts "orkin' OD the Prairiu bl bren ievielf' Vilkin Nev for.ats in boots and video br Vincent TraBov Saskatchewan Pbotocrapbl b, Keitb Bell ROI Victerl bJ Joan Lovndes Dan MlcOoueal1 b, Keith Bell Takao Tanabe b1 leitb Bell Alel Caleron, Jule. Olitski, Hobuo iubotl, 19ti Ind Forl and Freedol b, Joan Vastohs ( 20th-Centurl Ruropean Dravines. Whistler and his Andrea Bollez, Peter loli.Dli. Jobn BOlle br Ka, ~oods Contelporaries b, David Burnett Sil Nev Realists b, Robert Stace, Valter Redineer bJ Robert Arn Destination Burope b, Gary Micbael Dault 120 Colour Jeroerapbl by Joyce Zellnl Gordon RaJner bJ IIY Woods Vol. UIlV, No. 3, 1216/217, Oct/Nov 1977 Ted Godvin bJ ~utber Poirant Sculpture Ind Place Potter. At Work br Paul Inni. Gordon Slitb by Gary Waltera Sculpture for Herculel: doculenta 6 b, Theodore Allen Bruce Parsons, René Derouin b, David Bunett Beillric~ Ti. Zuci bJ Jeffre, Spaldinl Site vori: sOie Iculptur~ at Artpari b, Rileen Boob T"lenbers Vi llial !lorri. and the Art of the Boot, Calder '. Pierre Puvis de Càayanner b, lIichael Greenvood Univerae b, Peter Perrin Fletcher Starbuck: recentvorks br Peter Perrin Tbe RiBe and Fall of tbe Peanut PartI b, A.A. Bronson Art, ~ove and Politics: Deal. by Vera Frenkel Aletter frol London b, John McRven Vol. XXXIV, No. 2, '214/215, MaJ/June 1917 Revien ~andforls Paterson Iven by Judy Willial. TOI Ourrows, D'Arcl Henderton, Adal', Coillns, Robin Mackenzie: the sense of site bJ Peter Perrin Cu ..in./For tbe Bird. b, Ann Rosenberg The intilate cartocraphJ of Gersbon Isiovitz' paintinl Norlan Yates b, Keitb Bell by Theodore Allen Heinrich ASpace/Forest Citl Elchlnse by Robert Handfortb Robert Bourdeau '. landfort.: in praise of tbe lucid br Jlcr Sbadbolt br Peter Perrin Ann Tholls Otto iosera b, David Bunett ~J ve and Polities: Benien l,noranee b, Vera Rd Bartrll, "asters of the Utb Century, RIchard Frenie! Oonderenio, Alenndra Luke b, la, Woods Aletter frol London br Jobn McRven Robert Sinclair b, Robert StaceJ Revievs Abra.a. An,bir br Joan Il. Valtoka! Heidi Oberheide by Peter Bell Art Galler, of Ontano: the nell vins by Robert Stacey, Gerald Fersuson, Ron Sbuebrooi b, Rric Caleron Bileen Tbllenber. Henry Sile, Robert Vouns, Glna Pane bJ Diana Nuiroff IsIIC Brb, Martin LIORl, Kandal Levenson, Linda John Revard b, HUlo MePherson Mainville br Ann Tho ..t Grabal Coulhtry bJ Davld Burnett SUEl Llie 1 Sorel Cohen, 8ill Vazan, Four Quebec British Art in tbe National Gallery br Robert Stacer Painteu, Nev Quebec Tapestry br Diana Nui rof! Bverlon br Ann TboiiS Une fleur, un arbre, une plante/Jales Rae by Ann Blair Sbarpe by David Burnett Tholll Reinbard Rei tzenstcin, Jean MeRven br Jo,ce Zelans Folk Ila.es '77 b, Gerald L. POCIUS Jobn !leredith, Charles Robb, John FOI br lay Woods Carol Fruer br Peter 8ell Doreen Lindsay by Joanne Sauchuol Art Deco Tendencies in Canadian Paintinl bJ Pierre Vol. InV, No. l, 1218/219, Feb/March 1978 Desjardins Lilht Ind aptee in the urban landlcape Ulysse COltois br Tbeodore Allen Heinricb Five Paintera by lay Iritzviser Editorial: "Generalization lS already waltln" bored, Salisb Veaving by Helen Duff, at t.e door.· Yves Gaucher br Michael Greenvood T!lperins the Urban Landscape by Wi llui de Villie rI· Jales Collins b, A.A. BrOlllon Weltfall and Rberhlrd Otto Colette Vhiten br Colette Vbiten Maturai Grace in the Work of JelUB Soto b, Nier ~ionel Lelloine FitzGerald, Ric GOlez b, leitb Bell JolluoD Silvain VOler b, lIar,tka 10sinBri Arohitecture, Meaoin, and Values: "orlyala b, Joan M. Blectric Galler" Clari McDou,all, Al aazutis, Alan Vastoias Wood, Gre. Snider b, Ann Rosenber, Janvier and Helin.wu: ACollaboration by OOUIII8 J. Four Places b, Joan Lovnde. and Maril,n Cardinal Seven Canadian Pbotocraphers, European PbotoirapDY, Tbe Art of Architectural Dravlnls b1 Dore Ashton Tiloth Clark, Benno friedliD by Ann Tholl. The Propbetie Late Paintinll of Cemne br Jean Canada at tbe Birlborn: tvo reBponael bJ Peter Perrin, Sutherland BOIIB Tbeodore Allen Heinrich Priendp of the fon b, Peter Perm 121

André Fauteur and Dou,las Bentlll h Michael Greenllood BUlh Macienzie, Dennis Burton b, Robert Stace, Art Love and Poli tics: ACter Dilnitf by Vera Frelliel Borders, BouDdaries b, Robert Handfortb A letter frai London by John fleillen GatUe Pal~ b, Mar,tia L. loliDS~i dOCUIenta 6: drallinlB b, Theodore Allell Heinrich Henn Sare IRon Martin b, Peter Perrin/David Durnett Revius This Pout of Vieil b, Jud, lfillillll Vol. illY, No. 3, t222.223 , Oct/Nov 1978 John Henry "inton, Guzeli.ian, Liviek, Maebcbern, M,th aDd L.lndBcape Racin!tf b, ADn Tho.l. Alberta Colle,e of Art Gillerr b, Paul Woodroll Idi torial: On imiDi ooeD General Idea by Kenneth CouttB-Slith M,tb and IlndEclpe: III introduction b, Michael Albert Du.ouchel b, Helen Dufr, Greenllood Ann Kiplins by Joan Kurra, The dru. lounlain of Ozias Leduc b, Laurier Lacroil Ron Hart 1 n bl Davi d Burnett Leduc'. U.ton of Saint-Hillire b, Relen Duffy Gerald Perguson, Reinhard Reitmstein b, ill Voods fbe inllard, northard Journer of Llllren Barris b, lUi Off the Vall, Connie Hitzerotb by Robert Handfortb Mandel Don Jean-Louis b, Garl Michael DauIt "art is a IOllercase lIord ... " by Jaci Cbalbers BloolsbufJ Painters by Robert Stacel fony Urguhart's "landscape in fIul" by Monika Langer Antoni Tapies by Jose L. Barrlo-Garay ""bere are Da universal landlcapes .... b, George Pierre Boolaerts, Claude Breeze b, Diana Ne.iror! WOOdCDCt Chris Knudsen, Paul Klee b, David Burnett Richard Prince: brins in, tbe outdoors in by Joan Susan GibBon by Jeffrey Spaldin, LOllndes WHhin a callon place: Vera Frenkel 's Suspense Vol. ruv, No. 2, '220/221, April/Ma, 1978 thriller by Nichael Bthan Brodtir Fuurati ve Sculpture Renells Julia Belh. Richards Jarden. Bric Pischl. William Jack Chubers j1931-19781 Tucier, Joe Norris, Bruce FercuBon b, Jeffrel Spalding Rditorial: a co •• it.ent ta artscanada Alfred Steveu b, Gerald Needhll Vhere have VenuA, Moses and tbe Devil ,ane? b, Jean KeHllen, Niljenio Bornt br Diana Neliroff Theodore Allen Heinrich Gi Iles Gheerbrant b, René Palant Persona: tbe sculpture of Colette Whiten by Jobn New Quebec fapestrr by Helen DuffJ Chandler Harold Town, Nancl Haze l,rave, Adolpb Gottl1eb, Robin Mlth and Metuorphosis: Karl Frank by Ha,den Herrera Collfer b, 1&7 Woods Tbe arti st' s artist - GiorCio Morandi b,. Janet 'Kun Graphics, F. Robert Openahall, Anlus Trudeau by Abrutlwicr. Barb Plevan/Julian Trudeau Dral/lng 1 n paintin,: Paul Faurnier and Tonf Calzetta Jesus Soto b7 Nici Johuon by Kay Woods Rollin. Lalldscape by Robert Billdfortb John Ho,land in Ild-career b,. Jobn McRwen Mary Pratt b7 Joan Murra, AKenneth Locbead retrospecti ve by Ka} Woods Bditions Canada b, Janice Andreae The artlllt as curator of the llilination br Michael Hahn Kordollanec by Ruth iattner Horris TOllie Gale b7 J. Allison Forbes doculenta 6: pllntlng br Tbeodore Allen Heinrich T.huEO Shilaaia b, Nick Johnson Reviells Gerald BUlh lak b, Jerr7 Barenholz "iebael Fernandes by Jeffrey Spaldinl Rabut Field br Ann 1. Horrison Gabor Szi lai 1, Kelh Morcan by Diana Neliroef ADna Wonc bl Norah lelbar John BOlle b, Joan ". Vastotas Llnne Coben bl Penn, Cousinelu Alel Ca.eron, Bruce D'Neil, Rose Lindzon, Judith Booi revins ~ b, Kaf Woods Ores frol lichens and Plants b, Shirle, Andreae Grel Curnae 1 Rorden Rabinolli tch b, Jo Be L. Barria­ The Faces of the Great Lakes bl Peter Perrin Garal Oliver Bevan br L,nne Bell Vol. illY, No. 4, 1224/215, Dec 1978/Jln 1979 Gordon Slltb b, John Cbandler The presence or BordulB Vi lliu Ronald b, Theodore A. Heinrich 122

Bdi torill Moboru SUli bJ Dom lllic-Geifiand Forellord bJ Françoil-Marc Gailloll Brun Jones b, Janice Andreae A Borduu chroDololl b, François-Karc Gllllon Gordon Stith. "Iri Prel!t bJ RI' Ch.ber]&ln Borduu' belinnhll. influences IIId fi'lIrathe Nouvelle fi,uration en (ravure quebecom b, Judith paintiu b, Lucie Dorait COIIIII Surrelli •• Borduized b, Ra, Illenllood 20 1 20 Italia/Canadl bJ Diana Neli roff Refus Global b, hill-bile Borduas Refus Global: 1 current interpretation bJ André-G. Vol. UIVI, No. Z, UZ8/m, AuC/Sept 1919 Bourlna Vayl of Vorhnl Borduas, our eternal conte.poury hl Marcel kioUI The tenaci ty of the siln: Bordua. in Nev York bJ René Vera Frenrel: A rool III th a vieil by Jobn Noel Chandler Pa,lnt Charles GalDon's point of vieil b, Dore Alhton ft ••• le verti,e d'un ordre erorbitIDt·: Borduu in Yves Gaucber: Pantin, for open Ipace b, Gerald Paris b, Guido Kolinari and Fernande Saint-Martin Needhll The death of si,ns: Borduu' lut paintinu by Georee Traras: A natural bierarchy of uterlals by François-Marc Galnon NancJ Touale, Thoulhts on BordulB b, Theodore Allen Heinrich Robert Murray: Sculpture to be Been ln lotion br Robert Frank: Dell vori bl Penn, Cousineau Lover, S. SllS An intervi ell IIi th Dulcie Foo Fat bJ Nancy 'l'ousleJ Man Janitcb: Tbe tlelents of play by Michael man The COlin, and .oins of the shllan by Daniel Mlto Brodziy Reviews Lionel LeMoine FitzGerald: The developmt of an Jacques Hurtubise, Frank Stella bl Pierre Desjardiu artist b, Rli Mandel IllIes colorees b, Dialll Neliroff Doucet-Saïto: Momtui in clll by D.G. Jones Andrea Bo lIey, René Derouin bJ JaDe Urquhart Blake Mill Ir : Line and structure bl Robert Goodre Il 01/ Leslie Re id! Carol MartYII by Marshall H. Webb Sculpture frol an African totahty br DlIlle! Mato David Craven, Doue Hunes, Rod Prouse, Janet Reviells Hendershot b, IIJ Voods David Rabinovltch, Leopold Plotek b, LUCie Dorais 'ion, Cabetta br Brian Arnott Marc-Aurèle de FOl Sutor-Coté bJ Doroth, Farr r vin lyre b, ran J. Davidson 13 Calerls, Seven Prairie Painters. Pierre Gauvrm b, David Burnett Vol. IIIVI, No. l, t2261Z27, Ma,/June 1979 Kenlleth Lochbead by CatbJ Arthur

The roots of abstraction Otis TamauskaB I Tbel .. Van Alstyne, Paul Slouett, Judith Core, Harold Klunder, André Fauteur by Ka, Iditorial Woods

The roots of abstraction by Joan H. Vastoias lan Carr-Harru L Gan Lee-Nova br Mlian RUplC Bdcinc up to Farad i se: Gordon RaYDer bJ Tbeodore Allen Jack Sbadbolt b, L,dia Pawlenko Heinrich Alel Camon. Malcoll Rainl by Karen Wililn David Bolduc' s roots in lodern art by Ka, Woods Bruce st. Clur b, Robert StlceJ AlI the Beautiful Systm: Alfred Jensen by Peter Francoise Sullivan and David Moore br aae DaVIS Perrin Catberine Burleu, Gordon Rice by Lelde Mueblenbachs Riopelle: Icebercs bJ Michae 1 Greenllood ~i z Muor h Judy WilliliB Ronald Bloore: nev directions b, Theodore Allen dook reviews Heinricb r"o books on Paul-illie Borduas by Ra, Ellenvood Mondrian at the GUllenheil Huseui b, Dore Ashton Reviews Vol. IlIVr, No. 3, 1230/231, Oct/Nov 1979 Richard Gorlln bJ Cathy Arthur Prai rie Polk Art

Jonathan TbollS, Jean "clllen 1 Art Green b, Jane Urquhart Bditorial Ted Godwin br IaJ Voods Makinl a HOle out of Existence: Nine Prairie Foli Todd Watts, l.K. Grahl b, Doris COIiID Artilta SydneJ DrUi by NancJ Touale, AëOIPrebensible Vor Id: CicanliJ, Tbaubercer! Yumt,. Judith AllBopp b, LJdia Padenko Fafard b, Rli Mandel and statesents bJ the art lit. 1Z3

An Bisenhluer Portfolio bJ JOln DonaldsoD Jack Busb, Gordon Sim, David Blackvood b, laJ Voods Bdlond Cblti,nr, pltenteur cOllents bJ Louis de Robert Sinclair b, Doris COllin Ni vervi Ue and ~ierre Gauvreau Otto Rocer. by Laura Acier Nlti ve ioots: Pridl lib 100' sArt b, HIJden Herrera Michael Snoll br Gerald Needbal Mati ve Boots: M. Alvlrer; Bravo, Pbotonlpher of Mnico Pierre Boollertl, artills of laHla Galerie by David bJ HaJden Herrera BIIrnett Native Roots: Rufino Tllllo: M,tb and Mlcic b, Bill Philip GUiton, Isaac VitHn, Arshile Gorkf br Dore Garcll A.Hoa The Heart's Forest: More paintinu br Louia de Villial Scott br Silvia TeDlleIlbaul Niverville bJ 'lIchael Brodtk1 A farevell portrait of Selvln DevdlleJ (1909-19791 by Nisht Prames: Talao Tanabe bJ NancJ Toulle, Jlles Reane, ReVl eWB The Price Collecllon bJ Nancy-Lou Patterson Vol. film, No. l, 1234/235, April/Hay 1980 Kil Ondaatje: Old Ontario Houses b, Jane Urquhart Puzzles: Aspects of Cri Hcisi The Art of the Pacifie Islands b, Dr. Geor,e A. Cobrin Douglas Benthll Art Drn 1980 Rose Lindzon, GerGbon Isiowi t~ bJ Ka, Voods Michlel Snov: the deciBive 10lent revised b, iegina Robert SaVOie b, Laurier Lacroil Cornle Il Book reVleli Lookin, for the vort of art: a stand on current art Adr Ht on Course; 20th CenturJ Canad ian DrawÎDU bJ criticiBi by David Burnett Theodore Allen Heinrich Betty Goodl/in and "arcel Leine: 4005 Menlarta bJ Inder to &ftscanada 1977, 1978 Laurier Lacroir The constructive tradition ••ore or len b, flicbael Vol. IlIVI, No. 4, 1232/233, Dec 1979/Jan 1980 Greenwood Art and nati onali.1 Melvin Charnel: cODstrucls and concepts by Gerald Needhal Bdltorial: To ce lebrate tbe parador Turnin, and reachinc: recent worl of Grahll Cou,btn Nationalin and the Canadian ,enfus by Geor,e Voodcock b, Theodore Allen Heinrich Que bec, Part 1: Tbe bidden mie 0f urIr Pranch MJth and ah le in the vork of Robert Younl br TonJ Canadian nationaliBl: a panble bl FraDçois-Marc RlerJ Gagnon Boke and hm. chocolate and ,old: a cISe of Quebec, Part 2: Borduas and lodernisl: "r hate all Belptolania iD Toronto bJ Theodore Allen Heinricb nationalisls." bJ François-Marc Ga,non ieviews SOie reneetions on art and nationaliBl: roots of the David Buchan bJ NancJ TouBle, New Yori School 1930-1950 by Hilton Imer VOlen 1 s Booillorks by Diana Neliroff Porces in New York paintlng 1950-1970 by Dore Ashton Moll, iiBtvedt-Hallderer, Duncan de Kersolleaur br Kay The renmence of Canadun art 1950-1960 bJ IaJ Voods Woods The old-nell land: Israel by Matti Melled Lerlie Poole, Paterson Even bJ Louise Narler SeoUand and the art of nationah.1 b, Duncan André Derain by Nichael Parie-Ta,lor HacH i 11an Guido HoliDui. Barbara Astlan br LJdia Paillenio Paru-MoBcolI:the RUBBian avant-larde b, John Bovlt Charles Rinlnell br Carol PhiIlips Modern art in Latin Alerica: art and nation throulh BUlh Maclenzie b, JaDe Urquhart indl vidua1 discover, b, Ronald Cbrilt John BalI b, Dlfid Bmett Social reallsl in Merico: the lurah of Rivera. Oro~co Dnid sim. Joseph Beul., The Puseli Circle. Jean and Siqueiros b, Octavio Pu Bileon Chardin bl Silvia TenDenbaul Hati oulin and the arts: SOIe cUfiudleonlJ Art of the tventiea. CIJfford Still. Louise BouUeois. observations bJ Theodore Allen Heinricb Britisb art 1I0V b, Dore Ashton SOie flcets of nationalin in Canadian art b, Michlel Mash. Tenta. Vessels, Talis.aDS, Paul Colin b, Ronald Greenllood Christ Ren ells Nalevich and the iUl8ian Avant-Jarde bl Charlotte ran Vallace h Ton, Blery Doudu rvan Rfre b, Nancy Tousley 124

Yol. IIIYII, Ho. 2, '236/231, Sept/Oct 1980 Richard Halilton PicalBO and Modern Art Otto Ro.eu bJ Nancy ToulleJ Dou.lll Benthll, Continental CIal br Carol Phillips Bditorial JOli 'rict! JO~II lIuedit~ b, Catby Arthur PicaSlo and Frenhofer: the idea of lodern art bJ Dore Jo Mannin. by Julel HelIer Albton ion Martin, Paul Hutaer, JOlep~ Alar bJ Lydia Pavlenro Tbe late Iforr: a postscript br Dore Ashton Patmoll ben b, Mick JoblIIon Picasso's bands: the lutabilitJ oC hUlln Cori bJ Glbor SEilali Dy Louile Abbott Ronald Christ Claude Toull,nant by Jobanne L.loureur Picasso and COllunill bJ Jun Sutber land BOUI Bdvard Hopper b, Bulh IIlckellEie Picasso: the tunsfilurationa of tbe Hinotaur by Dale Ricbard S.itb b, ionald Christ McConathy Revievs Vol. IIIV III , No. l, mo/zu, Marcb/April 1981 Claude BrfteEe, Doullas Morton, Walter Redineer bJ T.A. iitual actions Heinrich SerIe Tousilnant by David C~am Bditorial: Notes for Theodore Allen HeInrich 11910- Ewald Rentz br Nier Johnson 19811 Mary Janitz, David Barnett bJ Cath Arthur Catalina Parra and the letnine or literais b, Ronald Pierre Boocaerts by Michael Greenvood Christ Andrea Bolley by Gerald Needhll Thirteen Choreocrapbeu Cor tllO dancers by Rober Louis COltois by KaJ Woods Racine Pierre AJot, Flavio Belli, HOllard SilUns by Louise A sbort bistor, of perforlallce art lB It Influenced or Abbott faiJed to influence l' ml br Gatèie Fali Robert Hedricr, luI Cieslur b, Doris COllin Nell .pectacle, needed? Or nell !le.? b, Deborah JOlli tt Louis Stoies by ion Shuebrook Robert S.itblon and ARt-Modernisa: the rupture of past Latin Alericall Realuts by Ronald Christ and pruent by Dale IIcConatby Mlrsden Hartlel by Marjorie Welish On coverace: perCorlallce, leduction, flatness by Ruuian Avant-sarde b, Vendy Sallond JohlDDe Laloureur Dilcontinuoui note. on and after 1 leetin, of critles, Vol. lU VII , No. l, '238/239, Dec 1980lJan 1981 bl one of tbe artists prelent by Yera Frenke 1 Joan Miro/Jack Bush Pellan, .urrealisl and eroticlSI b, Reesa Greenber. The autolltic palntinu of Jean-Paul Riopelle by Dmd Editorial Craven and iichrd Lulie Aconversation vi tb Joan Miro - Catalan b, Duncan Continuation of un Coverace: perforllllce, seduction, MacMillan flatne .. bJ JO~lDne Llloureur The poetics of the paintinl8 oC Miro bJ David Burnett Revielll Asarden for the ele: the plintinls of Jlcr Bush b, Til Zuck, Gathie Pali b, Nlnc, TouBle, Hil ton Krller Miljenro Horvat, Galerie France Morin croup eralbltlon Museui as Metapllor b1 Dale HcConathJ b, Louhe Abbott Joseph Sdlva' s telple: sculpture at its source by Gordon RaIDer b, Cath, Artbur Dale HcConlth, Jobn McBwen b, Mlchael BrodEiy Christopber Hevat' s artful meui bJ Dale McCoDatby Harold Feilt, Milh RiBtvedt Handerek, Brendl Miller Irene Vhittole's lusee blanc and the voices of silence b, Corinne Mandel br Dale McConlthy C.riltiane mu" Sol LeWitt bJ David Burnt~t The graphie arts in Canada: ten Jura It Open Studio Karen Hallencill by Lydil Pawlenko by Theodore Allen Heinricb Jounl Talent, Ilonaridil Inc. by LiE Vrile Tbe sculpture of Max Ernst b, NlncJ TouBle, li ttJ Bruneau by lay Wood. Pluralitiel/1980/Pluralltel by Robert Handfortb John Adal' Griefen by ValentIne Tatunsiy ieviews Brpre,sloDill: A Gerl.n IDtuitlon 1905-1920, Jo.epb LiE ".,or br Joan Loundes Rafflel by Silvia Tennenblui On Canvas, Marcelle Ferron, Pierre Tetrault, Robert lIichael 9noll bJ Ronald Cbrist Savoie, Robert Poulin bJ la, Voods Dennil Oppenbeil by Ron Gloven 1%5 ( of artlcanda bT Doullal Locbhead Vol. XnVIII, No. 2, 1242/243, Juh 1b,ult 1981 Introduction to the 40s Currents in Paintin, On Cri tici .. by Val ter Abe 11 .lib Carr b7 Ira Dilvorth Gor~r" &arden: tbe Brotie. of Plint b1 Dale McContby A Note 011 Dra"illl bT latblen N. Fellwici Sh,dbol t'. fertile paintiftl b, Mlr,aret L. Heidelan LeMoine FitzGerald - Western Artilt b, Lavren Harris Cou~trl aHelon and city realit,: "The Janus-faced A Canadian TlPo&rlphic ldiol br Carl Dair phenli,enon of Cloisonill" b, Carol Znel TOI nOllOD by Arthur Lilier John BOlle: Pavilioned Reroes b, Michael Greeavood Letten by Parllievl Clark and Gur Glover Ronald BI Dore: A Hetor, of Si,nificlnt Spaee bT What il lrone vi th Canadiall Art? bJ Barier Fllr le, Michael Itban BrodzkT An Bun on Abstract hintin. b1 Lavren Harris Goodrid,e Roberts, late vork by Sandra hUOVBr1 The Paintines and Drawincs of F.!I. Var 1er by Donald W. Jock Macdonald: rhe Course of the Paioter b, J01ce Buchanan Zeune Introduction ta the 50s Booi reviell. Arthur Lilier - His Ccntributi on ta Canadian Art b, David Mdne by Cath, Arthur A.Y. JacksoD Mi 1ton Avery b, Sandra Paikowsl, A Note on Cri tiCisl hl Robert Ayre Revievs Letters b1 Ronald L. Bloore and René Bour Bill Reid The lilluton Conference - 'ell Years After"ar~s by Cathie Fall, Cletus Johnson, IJonald Jarvis b, Joan André Bieler Lavndes The Report of the ROlal COllilsion on National Bd Ze lenak by Ann Horrison Developsent in tbe Arts, Letters and Sciences by Ann Clarke b, Michel Parre-Ta,lor Robert Arre Walter Redinler b, Jeanine Lod,e SOie Thou'Hs about the IIori of Love and &real of Basia Irland b, Jobn Silverstein Ozias Leduc bT Paul-bile Borduu Bric Fischl b, NancT TOUBle, Bast ia West - Tbou,hts on the UnitJ and Meanins of An Whi tlock, Dennis Burton, Airo SUEuii, Jobn Hall, Contelporarl Art br Wllter Abell Harold Town b, Corinne Mandel Dlvid Milne as l lne" Hi. b1 Donald Il. Buchanan Willill Ronald b, Mela Constantinidi A RetufII ta 'urope br Joseph Pluiett Gregor, Dru b7 Dale IIcConatb, The Second Bienllial of Calladian Art b, Robert A1re K.H. Grabu b, JOTce Zems Poets and Plintera: Ri vals or Partners? br Barle Char les Robb b, KaT lIoods Birney ROIden Rablnovitch b, Harold MalcollSon Jock Macdonald, Painter-bplorer bT Karvell Bates Robert Murray b, David Burnett Frol Sprine Fever to FantuJ by David Nilne Luc BeJand and Lucio de Heulcb b1 Jobanne Introduction te tb 60s Laloureur/trans. David HOlel Jan G. WJell b, Ronald L. Bloore John Heward by HUlo KcPierlon Visual Art lnd PhotoeraphJ b, Mlrvell Bates Denis Delers, BettI Goodvin bJ Laurier Lacroir Buchanaft Photocraphs by Donald V. Buchanan Rose Lindzon by Reesa Greenber, On Advertisin, Denen bT Paul Artàur Pierre Gauvreau b1 Helen Duff, The Desi,n of a Bouse bT Arthur Bricison John Clark Letten br Alfred Barr and Anne Kahane George Lelrady b, Colin L. Vesterbeck, Jr. Bila Lake Arti.tl' Vorkshop: An Appreciation by Arthur John Baldessari b, Marjorie Welish MclaT Se arch for ln UndÎlcovered Alphabet b, Jlles Reaney Vo]. Il IV II l , Nos.3 14,1244/245/246/247, March 1982 Perceptual leali •• b, Jack Cha.bers Tbe Artist's BTe: 40th Anniversary Inue Dialolue at an erhibi tion of Yves Gaucher' B Grer An Antholol1 of 40 Years of Bmys on Canadian Art Paintinll br John Noel Cbandler In the lainstrm ... b, Ronald L. Bloore Edltorial Introduction te th 101 ( 011 " Biocraplt ies of edi tors and desi,ners Convercin, Nichael Snov's La He,ion Centrale frol a ~di tors' bi bliolrapb ies converution vith Char lotte Tovuend Tbe Fon of tbe Content: Desi,n and Creative StiluluB onh taie for cranted the thinu JOU cali touch br TOI 126 - Burrowi Joe Rodolai interviews Joe Bodolai Paterson BIIen: RaiD hJ Nick JohmD Tie Ictivitl of art: 1 penonal relponse to iiltorl h Jact Shadbolt Point in Tile bJ John DOJle The Horizontal Monic b, Dale McConatb, Refus Global b, Paul-alile Bordual

Vol. IUn, No. l, 1248/249, Novuber 1981 Ccntinlellcies

Reviews frol Victoria, Vancouver, Relina, Sukatcon, Winnipeg, London, Toronto, Lewiston, Ottalla, New fork, Balifu Editorial Cereloniel, Alphabets, Spacel: Robert Davidson b, Joan LOllndes Constructin, Ma&ie: PI. Bonevardi bJ Roaald Cbrist Travelinc Lilht: Judith AUBOpp bJ Micbael Brodr;;, Luc Deland IIId Michael Jolliffee: Nell Ilaies frol Montreal b, Sandra Paikollli, Notes on AlitpropLPerfmance in Banff b, NancJ Tousle, Harie Chien Noir de Harie Chouinard: l'etoiluDt de l'alour b, Rober Racine Media and the Heanl: lIuntadas bJ Ronald Chrilt Findinc what lIill suffiee: Nick Johnloll bJ Michael Brodzl, SOlellhere, betlleen •.• bJ Jocelfne Alloucberie Prelilinan FindinlB bJ A• B moeies Part II: Jean-Paul Riopelle' s Art of Affimtion b, David Craven and Richard Leslie Post-Contin,enCl Scralble b, Rick/Silon Constructed Interviells lIitb Tbree 9uebec Photo.raphel'l by Katberine Tlleedie AHistorJ of GuH, AGrapbic Research Centre bJ Madeleine Forcier Anillted FillS: SOie Splendors br Denis Lessard Tbil il about Michael Snoll's nell fill, So is tH. hl Michael BrodzlJ The RUBth Mine &vent bJ Grahll Cantieni Art Acrou th Pari: Til Wbiten bJ GJlbert Coker and Jennifer ffanfredi Architecture .. Ilacination of the Future/Sculpture .. Speculation OD the Past b, Dale IIcConath1 Atget Photolrapba at the National Gallery bJ SUsall Al ter Tateiahi 127

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