Moodyville Contributors

Total Page:16

File Type:pdf, Size:1020Kb

Moodyville Contributors MOODYVILLE CONTRIBUTORS NEDA ABKARI was born in Abadan, Iran. Her father, a JIM BREUKELMAN li ves in West Vancouver. He received big influence in her life as a poet, introduced her to poetry a BFA in photography at the Rhode Island School of Design and classical literature. They used to read Hafi z for at least and taught photography at Emily Carr Institute from 1967 half an hour every day. Neda published three books of to 2000. Breukelman has been a significant influence on poetry in lran-Tajrobeh Hayeh Ghameh Rostan , Az Raheh the development of artists of photography in Vancouver. Sayeha, and Hara seh Amadaneh Sobh. The las t book is also For over four decades, he has had many exhibitions across translated into Swedish. Neda li ves with her daughters in Canada, most recentl y solo exhibitions at the Ri chmond North Vancouver and is a student at UBC. Art Gallery and Republic Galllery, and hi s work is in va ri ous public and private coll ections. He is represented ANDREA ANDERSON is a fundraiser and writer li ving by Republic Gallery, Vancouver. in Vancouver. Excerpts from her UBC MA thesis, "Tom Burrows' Sculpture of Concrete, Sculpture of Dreams COLIN BROWNE is a writer and filmm aker li ving in or, Looking for the Utopian in the Everyday" (1997) are Vancouver. His most recent book is The Shovel (Talon­ published here. books). "Kingfisher Annex," of which this is an excerpt, is a prelude to the text for a longer dramatic work, perhaps an oratorio, entitled The Kingfisher. The action in The King­ INGRID BAXTER, in the yea rs following N.E. Thing Co., fisher begins where "Kingfisher Annex" leaves off, at dawn founded and owns Deep Cove Canoe and Kayak in North on May 28th, 1938, under the northern ramp of the Lion's Vancouver (1981 to present). She created the Adaptive Gate Bridge, and concerns the life and times of David Bolster. Aquatics Specialist position for the City of Vancouver The three-line cinched stanzas of "Kingfisher Annex" are and directed the creation of swim programs for the used only in this prelude, which seems to have become a disabled, including the Berwick Centre's swim program for postlude as well. developmentally disabled preschoolers. She was a founding member and professional accompanist for the North KARIN BUBAS, originall y from North Vancouver, is a Shore Chorus for close to 20 years. She has taught piano, graduate of Emily Carr Unive rsity. She has ex hibited na­ canoeing, swimming, and aquasizes. tionally and internationall y, most notabl y in Montreal, Washington DC , and Brussels. Exh ibi tions include solo DAVID BELLMAN (Xwi7 xwa) is an art historian and inde­ exhibitions at Monte Clark Gallery, About Time at the pendent research curator. His interdisc iplinary research Canadian Embassy in Washington DC; The Power Of has connected the fi elds of19th and 20th century experimen­ Refl ection at the Saidye Bronfman Centre for the Arts, tal architecture, photography, painting, and sculpture, and Montreal; and The Tree: From the Sublime to the Social is often concerned with the spiritual and materi al heritage at the Vancouver Art Gal lery. She is represented by the of traditional, non-European societies. His research and cu­ Monte Clark Callery, Vancouve r/Toronto. ratorial work have been presented in No rth America and Europe. He often coll aborates with Mei rion Evans. TREVOR CAROLAN writes from Deep Cove and teaches at UFV in Abbotsford. His current work is Another Kind of Para ­ MOLLY BOBAK began studying art inl938 at the Vancou­ di se: Short Stories from the New Asia-Pacific (Boston: Cheng ve r School of Art where she pursued drawing and painting & Tsui, 2009). with instructors Charles Scott and Jack Shadbolt. In 1942 she joined the Canadian Women's Army Corps and became PIERRE COUPEY was a founding co-editor of Th e Georgia the first Canadian female war artist. In 1946 she married Straight and founding editor of The Capilano Review. Gallery Bruno Bobak and lived in North Vancouver until 1960 Jones represents his work in Vancouve r, where his next when they moved to Fredericton, New Brunswick where solo show takes place in Spring 2010. Hi s work will be she still resides. She has exchibited widely and her artwork included in a fi ve-person group show of new abstraction is included in private and public collections, including the at the Kelowna Art Gallery in Fall 2010. National Gallery of Canada. 207 PETER CULLEY li ves in South Wellington, British Columbia, MIKE GRJLL is a self-taught Vancouver photographer who and his books include Th e Climax Forest, Hamm ertown , was born in North Vancouver. He has had solo exhibitions The Age of Briggs & Stratton: Hamm ertown Book Two and in Vancouver, most recently at CSA Gall ery and Jeffrey To the Dogs . Boone Gallery, and has been recently published in local magazines Su bterrain and Ripe. He is represented by Jeffrey MEIRION EVANS (Nexw Siu/um Ta Ensxi Pim) is a docu­ Boone Gallery, Vancouver. mentary fi lmmaker, television producer, and independent research curator. Hi s mass media work concerning cross­ STEVEN HARRIS teaches art history at the University of cultural themes has been commissioned and realized in Alberta in Edmonton, and has published on surreali sm and collaboration with the BBC and S4C Wales ; his independent other twentieth-century art and cultural movements. He practice has been showcased at the Festival of Documentary was a student editor of The Capilano Review before and dur­ Films on Art, Centre Pompidou, Paris. He often collaborates ing the period recoll ected in these memoirs. with David Bellman. LEE HENDERSON is the author of an award-winning ALISON FROST is a writer from Brooklin, Ontario, whose short story coll ection Th e Broken Reco rd Technique and the fiction has appeared in several literary journals. She is in novel Th e Man Game. He is a contributing editor to the the latter stages of work on her first manuscript of short art magazines Border Crossings and Contemporary and has fiction. Alison li ves in East Vancouver with her husband, published fi ction and art criticism in numerous periodi­ dog, and twin cats. cals. His fi ction has twice been featured in the Journ ey Prize Anthology. He lives in Vancouver. BRIAN GANTER teaches li terature and critical theory in the Capilano University Engli sh department and ANNETTE HURTlG is an independent curator and writer CultureNet program. During the daytime working hours based on Hornby Island. She intermittently takes curatorial North Van has a tangible, determinate, and material ex­ and directorial work wi thin public institutions elsewhere. istence for him. However, at the end of the working day, Active internationally and known for initiating and managing North Van enters an ethereal, hazy, and immaterial state of ambitious, nationally touring exhibitions and accompany­ being from the view of his back window, as the illuminated ing publications, she is currently Interim Curator at the Grouse Mountain ski resort detaches from the earth and Kamloops Art Gall ery. quietly floats in the darkness. ANNE KIPLING has received wide recognition for her GARY GEDDES has published more than thirty- fi ve drawings, whi ch have been acquired by many public art books and won a dozen national and international liter­ museums in Canada, including the National Gallery of ary awards, including the Gabriela Mistral Prize and the Canada. In 1962, after graduating from the Vancouver Lt-Governor's Award for Literary Excell ence. He is working School of Art, she moved to Lynn Va ll ey, North Vancouver, on a book about human rights in sub-Saharan Africa. where she lived until 1965. During this time she purchased a small etching press and taught herself drypoint, etching, and aqua tint. Her career was the subject of a major Vancou­ CHRJSTOPHER GLEN grinds some, along with a lot of ver Art Gallery exhibition and publication in 1995. others. His times are getting slower, such is time. His best time mattered an awful lot to him, at the time, matters ROBERT KLEYN is a Canadian architect, visual artist, less now, and matters not a monkey to the good reader and writer. He began making photo-conceptual and video let alone the indifferent one. works in Vancouver in the earl y 1970s, and has shown his artwork in Nortl1 America and Europe. He apprenticed as BABAK GOLKAR lives in North Vancouver and has an an architect in Rome and studied architecture at UBC. His MFA from UBC. His multidisciplinary practice includes writings have been published in art magazines ZIG, Terna performance, instal lation, drawing, and vi deo. Golkar has Celeste, Arts, Vanguard , and in numerous exhibition cata­ exhibited extensively both nationally and internationall y logues. He has taught at several universities and practices at venues such as the Bergen Kunsthalle, Bergen; Liu in Vancouver as Robert Kl eyn Architect, specializing in art Haisu Museum, Taipe i; Morris and Helen Belkin Gall ery, gallery and cultural projects. Vancouver; and the Belkin Satellite, Vancouver. He recently participated in the group exhibition Orienta/ism and Ephemera at Centre A, Vancouver. 208 ANDREW KLOBUCAR is a Vancouver based writer who REZA NAGHIBI is a student in Creati ve Writing at Capilano prefers cell phones to bear bell s when hiking the North University and he looks fo rward to a career as a writer. He Vancouver trails. He writes on programmable literary has published in the student newspaper Th e Capilano Courier practices and screen poetics and works full-time in the and is a new reader of The Capilano Review.
Recommended publications
  • The National Gallery of Canada: a Hundred Years of Exhibitions: List and Index
    Document generated on 09/28/2021 7:08 p.m. RACAR : Revue d'art canadienne Canadian Art Review The National Gallery of Canada: A Hundred Years of Exhibitions List and Index Garry Mainprize Volume 11, Number 1-2, 1984 URI: https://id.erudit.org/iderudit/1074332ar DOI: https://doi.org/10.7202/1074332ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Mainprize, G. (1984). The National Gallery of Canada: A Hundred Years of Exhibitions: List and Index. RACAR : Revue d'art canadienne / Canadian Art Review, 11(1-2), 3–78. https://doi.org/10.7202/1074332ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ The National Gallery of Canada: A Hundred Years of Exhibitions — List and Index — GARRY MAINPRIZE Ottawa The National Gallerv of Canada can date its February 1916, the Gallery was forced to vacate foundation to the opening of the first exhibition of the muséum to make room for the parliamentary the Canadian Academy of Arts at the Clarendon legislators.
    [Show full text]
  • Leisure and Pleasure As Modernist Utopian D3eal: the Drawings and Paintings by B.C.Binning from the Mid 1940S to the Early 1950S
    LEISURE AND PLEASURE AS MODERNIST UTOPIAN D3EAL: THE DRAWINGS AND PAINTINGS BY B.C.BINNING FROM THE MID 1940S TO THE EARLY 1950S by KAORI YAMANAKA B.A., The University of British Columbia, 1994 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1999 © Kaori Yamanaka, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date A(^i( 30, DE-6 (2/88) 11 Abstract Bertram Charles Binning's depiction of British Columbia coastal scenes in his drawings and paintings of the mid 1940s to the early 1950s present images of sunlit seascapes in recreational settings; they are scenes of leisure and pleasure. The concern for leisure and pleasure was central to the artist's modernism, even after he began painting in a semi-abstract manner around 1948. In this particular construction of modernism, Binning offered pleasure as an antidote to some of the anxieties he observed in postwar culture.
    [Show full text]
  • Sheila Watson Fonds Finding Guide
    SHEILA WATSON FONDS FINDING GUIDE SPECIAL COLLECTIONS JOHN M. KELLY LIBRARY | UNIVERSITY OF ST. MICHAEL’S COLLEGE 113 ST. JOSEPH STREET TORONTO, ONTARIO, CANADA M5S 1J4 ARRANGED AND DESCRIBED BY ANNA ST.ONGE CONTRACT ARCHIVIST JUNE 2007 (LAST UPDATED SEPTEMBER 2012) TABLE OF CONTENTS TAB Part I : Fonds – level description…………………………………………………………A Biographical Sketch HiStory of the Sheila WatSon fondS Extent of fondS DeScription of PaperS AcceSS, copyright and publiShing reStrictionS Note on Arrangement of materialS Related materialS from other fondS and Special collectionS Part II : Series – level descriptions………………………………………………………..B SerieS 1.0. DiarieS, reading journalS and day plannerS………………………………………...1 FileS 2006 01 01 – 2006 01 29 SerieS 2.0 ManuScriptS and draftS……………………………………………………………2 Sub-SerieS 2.1. NovelS Sub-SerieS 2.2. Short StorieS Sub-SerieS 2.3. Poetry Sub-SerieS 2.4. Non-fiction SerieS 3.0 General correSpondence…………………………………………………………..3 Sub-SerieS 3.1. Outgoing correSpondence Sub-SerieS 3.2. Incoming correSpondence SerieS 4.0 PubliShing records and buSineSS correSpondence………………………………….4 SerieS 5.0 ProfeSSional activitieS materialS……………………………………………………5 Sub-SerieS 5.1. Editorial, collaborative and contributive materialS Sub-SerieS 5.2. Canada Council paperS Sub-SerieS 5.3. Public readingS, interviewS and conference material SerieS 6.0 Student material…………………………………………………………………...6 SerieS 7.0 Teaching material………………………………………………………………….7 Sub-SerieS 7.1. Elementary and secondary school teaching material Sub-SerieS 7.2. UniverSity of BritiSh Columbia teaching material Sub-SerieS 7.3. UniverSity of Toronto teaching material Sub-SerieS 7.4. UniverSity of Alberta teaching material Sub-SerieS 7.5. PoSt-retirement teaching material SerieS 8.0 Research and reference materialS…………………………………………………..8 Sub-serieS 8.1.
    [Show full text]
  • Nan Cheney Fonds (RBSC-ARC-1121)
    University of British Columbia Library Rare Books and Special Collections Finding Aid - Nan Cheney fonds (RBSC-ARC-1121) Generated by Access to Memory (AtoM) 2.6.2 Printed: March 02, 2021 Language of description: English University of British Columbia Library Rare Books and Special Collections Irving K. Barber Learning Centre 1961 East Mall Vancouver British Columbia V6T 1Z1 Telephone: 604-822-2521 Fax: 604-822-9587 Email: [email protected] http://rbsc.library.ubc.ca/ https://rbscarchives-prd.library.ubc.ca//index.php/nan-cheney-fonds Nan Cheney fonds Table of contents Summary information ...................................................................................................................................... 3 Administrative history / Biographical sketch .................................................................................................. 3 Scope and content ........................................................................................................................................... 3 Arrangement .................................................................................................................................................... 4 Notes ................................................................................................................................................................ 4 Access points ................................................................................................................................................... 5 Series descriptions ..........................................................................................................................................
    [Show full text]
  • Preview | Gallery and Museum Guide | Sept-Oct 2012
    ALBERTA I BRITISH COLUMBIA I OREGON I WASHINGTON GUIDE TO MUSEUMS + GALLERIES September/October 2012 Compliments of Preview Graphics www.preview-art.com 6 PREVIEW I SEPTEMBER/OCTOBER 2012 Sept/Oct 2012 Vol. 26 No.4 previews ALBERTA 10 Louise Bourgeois 1911-2010 8 Banff, Black Diamond, Calgary 14 Edmonton 23 Art Gallery of Alberta 16 Lethbridge 12 Elles: Women Artists 18 Medicine Hat, Red Deer Seattle Art Museum BRITISH COLUMBIA 16 New California Art Circa 1970 18 Abbotsford, Bowen Island 20 Britannia Beach, Burnaby Morris and Helen Belkin Art Gallery 22 Campbell River, Castlegar, 18 Earth Art Chilliwack, Coquitlam VanDusen Botanical Garden 25 Courtenay, Fort Langley, Grand Forks, Kamloops, Kaslo 12 36 Nomi Kaplan: Rain 26 Kelowna, Maple Ridge, Nanaimo, Sidney and Gertrude Zack Gallery Nelson 27 New Westminster, North Vancouver 38 Marcus Bowcott 28 Osoyoos Café for Contemporary Art 29 Penticton, Port Alberni, 64 Port Moody 42 Fragments and Masks 30 Prince George, Prince Rupert, Xchanges Gallery Qualicum Beach, Richmond 44 Herald Nix 31 Rock Creek, Salmon Arm, Salt Spring Island SAGA Public Art Gallery 33 Sidney, Sooke, Squamish, 50 Bratsa Bonifacho Sunshine Coast (Roberts Creek, Foster/White Gallery Sechelt), Surrey 67 Bau-Xi Gallery 34 Tsawwassen 35 Vancouver 56 Joseph Plaskett 52 Vernon Winchester Galleries 53 Victoria Penticton Art Gallery 57 West Vancouver 58 Whistler, White Rock 64 Renato Muccillo 59 Williams Lake White Rock Gallery OREGON 36 66 Richard Serra 59 Cannon Beach, Marylhurst, Elizabeth Leach Gallery Portland 68 African American Quilts 62 Salem Bellevue Arts Museum WASHINGTON 64 Bellevue, Bellingham, Friday Harbor, 70 Hector Acebes La Conner, G.
    [Show full text]
  • An Art Resource for Elementary School Teachers
    ART EDUKIT An Art Resource for Elementary School Teachers The Beaverbrook Art Gallery wishes to thank The Sheila Hugh Mackay Foundation, our presenting sponsor, for making the Edukit project possible. We thank all the artists who responded to our questions and offered their assistance, as well as all the teachers who participated in discussions and artwork selection. We also would like to thank the following content developers, contributors and editors: Sandy Coutts Sutherland, Alexandra Winchester, Jennifer Pazienza, Kristiana Green, Melanie Roach, Mary Blatherwick, Peter Gorham, Rolene Betts And UNB students: Brent Kenneth Brewer, Jolene Theresa Clancy, Jessica Jean Clark, Heath Whitman Currie, Joel Alan Edwards, Joel Alan Green, Kristin Joanna Hewlett, Meagan Anne Hughes, Melissa Lynn Nicole Hunt, Felice Ella Kamminga, Tracy Ann L’Huillier, Heidi V LeBlanc, Jill Ashley MacPherson, Elizabeth Claire Marr, Brendon Tyler McGee, Gillian Lynn McLean, Brita Katrina Mersereau, Jessica Anne Miller, Lee Matthew Rafuse, Michelle Helen Randles, Laura Susan Rodger, Stephanie Samantha Sampson, Anna Mary Christine Stroud, Lillian Vicaire-Moffat, Andrew Walton, Alexandra Jane Winchester, Ashley Jean Woods Edukit translation by Jo-Anne Elder Design by Ginger Design www.gingerdesign.ca Table of Contents Cornelius Krieghoff 6 Emily Carr 39 Alex Colville 74 Merrymaking Forest Glade Snow Plow Play Time! Do You See What I See Plasti-Scene (a diorama in plasticine) Lawren Stewart Harris 14 Jean-Paul Riopelle 48 Molly Lamb Bobak 84 Morning Hameau Cosmos Out
    [Show full text]
  • Download a PDF Catalogue
    HODGINSAUCTION.COM SPRING 2020 Monday, June 22 @ 7 p.m. - Online Auction METHODS OF BIDDING: ELECTRONIC PRE-BIDDING. You can place your maximum bids through the online catalogue at any time prior to the auction - type in your maximum bid amount and click “Place Bid”. The software will administer your bid up to your maximum, in competition with other bidders. ELECTRONIC REAL-TIME BIDDING. Register early as pre-approval is required. Log in at sale time and bid in real-time as the auction is closing. ABSENTEE BIDDING. If you do not wish to bid electronically, you can submit an Absentee Bid Form. We will enter your maximum bids into our software where they will be placed into competition against other bidders. Absentee bids appear as “Floor Bidder” in the bidding history. NOTE. Lots begin to close sequentially in 20 second intervals. Each lot displays a countdown clock. A 2 minute bidding extension is added to the clock if a bid is placed in the final 2 minutes. The extended bidding on one lot does not affect the closing time of other lots. Late active bidding can extend the closing of an individual lot for an extended time. 4 | Michael O’Toole All bids are time-stamped. In the event of a tie (identical bids), the earliest placed bid wins. Canadian FCA [b. 1963] LATE OCTOBER (BANFF) The Terms and Conditions of the auction can be found within the online catalogue. acrylic on canvas 20 x 24 in. (50.8 x 61 cm) signed lower left; signed & titled verso $ 1,000 / 1,500 5 | William (Bill) Duma 1 | James McLaren (Jim) Nicoll Canadian ASA, RCA [b.
    [Show full text]
  • Dorothy Knowles's Rural Landscape Painting
    DOROTHY KNOWLES'S RURAL LANDSCAPE PAINTING: MODERNITY AND TRADITION IN URBAN SASKATCHEWAN By COLLEEN MARIE SKIDMORE B.A., The University of Saskatchewan, 1980 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1989 © Colleen Marie Skidmore, 1989 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, 1 agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date 21 April 1989 DE-6f3/81) ii ABSTRACT Between 1955 and 1965, Saskatchewan painter Dorothy Knowles established her main category and style of production as "painterly" representation of rural landscape. The literature to date attributes the emergence of this practice to Knowles's encounter with Clement Greenberg, the patriarch of formalist criticism, at the 1962 Emma Lake Artists' Workshop. In fact, critic Andrew Hudson has called Knowles's work "the most important art to emerge out of Greenberg's workshop." Herein lies the problem central to this thesis: how did a woman artist negotiate (with critical and market success) the gender constraints of her artistic context while addressing additional social and artistic issues by means of rural landscape painting? Previous examinations have constructed Knowles's landscape work as an autonomous, "feminine" and artist- centred activity.
    [Show full text]
  • 55292605.Pdf
    THIRTY-SECOND SESSION — 1 9 2 6 19 5 6 PROSPECTUS 1956-1957 THE VANCOUVER SCHOOL 0 F ART ADMINISTRATION THE VANCOUVER BOARD OF SCHOOL TRUSTEES Mrs. H. F. Angus (Chairman); R. Atherton (Deputy Chairman); L. C. Aggett; E. J. Broome; Mrs. E. Crowley; J. Henderson; Mrs. F. J. Hollis; C. G. Robson; F. M. Sharp. SUPERINTENDENT OF SCHOOLS R. F. Sharp, B.A., D. Poed. SECRETARY Miss B. L. Paulding 590 Hamilton Street, Vancouver 3, B.C. STAFF FRED AMESS .'. Principal PETER ASPELL ». Drawing, Painting BRUNO BOBAK Design MOLLY BOBAK Drawing, Painting REG DIXON Pottery, Ceromics ORVILLE FISHER Drawing, Graphic Arts HERBERT GILBERT Design Workshop DONALD JARVIS Drawing JACK SHADBOLT Painting GORDON SMITH Advertising Design DONALD STEWART Sculpture G. H. TYLER History of Art GENERAL INFORMATION THE VANCOUVER SCHOOL OF ART 590 Hamilton Street, Vancouver 3, B.C. Phones TAtlow 7650 or TAtlow 6645. The Vancouver School of Art offers . a thorough training for those desiring a serious interpretive study in the fine arts. courses leading to a professional standard for those whose object is the commercial field. a sound basic study satisfying to those who pursue art for their own pleasure. LOCATION The Vancouver School of Art is centrally located. It is one block from the Bus Depot, adjacent to the Vocational School and opposite to the proposed Auditorium. The new Post Office is being built on Hamilton Street diagonally across from the Art School. A short walk takes the student to the shopping districts of either Granville Street or Hastings Street and the sketching areas of False Creek and the Waterfront.
    [Show full text]
  • MOODYVILLE 3 · ISSN 0315 3754 8 $10.00 We Live in a Shack on the Sea
    T C R TCR T The Capilano Review / Presentation House Gallery H THE CAPILANO REVIEW E C A P I L A N O R E V I E W MOODYVILLE 3 · ISSN 0315 3754 8 $10.00 We live in a shack on the sea. Dollarton is an old shipbuilding town, Dollar liners—now dead: slipways covered with brambles, enormous blasted oaks in a fine deep forest. Outside the window, a vast white calm where sea is confused with sky, and the Rockies. We have a boat: and one day, out for a row, a whale came up beside us! I think it was Herman Melville in disguise. Anyhow it is a weird and wonderful place and we love it . Malcolm Lowry 6 September 1940 The “Moodyville” issue of The Capilano Review is dedicated to the late Nancy Shaw—North Vancouver resident, poet, MOODYVILLE artist, curator, scholar, critic, and collaborator extraordinaire. The Capilano Review / Presentation House Gallery The “Moodyville” issue of The Capilano Review is dedicated to the late Nancy Shaw—North Vancouver resident, poet, MOODYVILLE artist, curator, scholar, critic, and collaborator extraordinaire. The Capilano Review / Presentation House Gallery 3.8 / Spring 2009 Editors Jenny Penberthy, Helga Pakasaar MOODYVILLE Managing Editor Tamara Lee The Capilano Press Colin Browne, Pierre Coupey, Roger Farr, Brook Houglum, Crystal Hurdle, Andrew Klobucar, Society Board Aurelea Mahood, Elizabeth Rains, Bob Sherrin, George Stanley, Sharon Thesen 6 Peter Culley 103 Dan Siney / Lee Henderson Five North Vancouver Trees Stump Skulls Contributing Editors Clint Burnham, Erín Moure, Lisa Robertson Founding Editor Pierre
    [Show full text]
  • Annual Report 2017
    ANNUAL REPORT 2017 Table of Contents Vision and Mission 2 Board and Committees 3-4 From the Chair 5-6 Director’s Report 7-8 Campaign Report 9 Curatorial Report 11-12 Acquisitions & Loans 13-15 Exhibitions 17-19 Programs 21-23 Attendance 25 Members 27-28 Sponsors and Donors 29 Docents and Guides Bénévoles, Staff 30 Photo Credits Back cover 1 Vision The Beaverbrook Art Gallery Enriches Life Through Art. Mission The Beaverbrook Art Gallery brings art and community together in a dynamic cultural environment dedicated to the highest standards in exhibitions, programming, education and stewardship. As the Art Gallery of New Brunswick, the Beaverbrook Art Gallery will: Maintain artistic excellence in the care, research and development of the Gallery’s widely recognized collections; Present engaging and stimulating exhibitions and programs to encourage full appreciation of the visual arts; Embrace and advance the province’s two official language communities, its First Nations Peoples and its diverse social, economic and cultural fabric; Partner to meet its goals, with the governments of New Brunswick and Canada, the general public, the private sector, cultural and educational institutions, artists and other members of the artistic community; Conduct its stewardship of the affairs of the Gallery in a financially sustainable manner Serve as an advocate for the arts and promote art education and visual literacy; Inspire cultural self-esteem and enjoyment for all New Brunswickers. 2 Board of Governors Members of our board in the new pavilion, December 2017: Back row (L to R): Ann McCain Evans; Thierry Arseneau; Norah Mallory; incoming Director/CEO Thomas Smart; Ellen Wilson Messenger; Lana Tingley Lacroix; Paul Simmonds.
    [Show full text]
  • Visual Arts Grades K
    May 2014 “The arts help children learn to say what cannot be said.” -Elliot Eisner Acknowledgements The Department of Education and Early Childhood Development wishes to acknowledge the thoughtful contribution of the following members of the Elementary Visual Arts Curriculum Development and Advisory Committee in the development of the Visual Arts Education Grades K – 2 Curriculum document: Bev Franklin, ASD - East Nancy Greenlaw, ASD - South Peter Gorham, ASD - West Heidi Stoddart, ASD - South Corinna Wojciechowski, ASD - South Rolene Betts, Department of Education & Early Childhood Development Pilot teachers from the four Anglophone districts who provided invaluable feedback include: Brenda Bordage, ASD – North Nancy Gray, ASD – West Katrina Lee, ASD – South Rachel O’Brien, ASD - East With special thanks to: Students of New Brunswick for sharing their artwork in this document New Brunswick Department of Education and Early Childhood Development 2014 VISUAL ARTS: K-2, May 2014 i VISUAL ARTS: K-2, May 2014 ii Contents Introduction Acknowledgements ......................................................................................i Rationale ..................................................................................................... v Program Requirements ............................................................................... v Recommended Minimum Time. ................................................................... v Skills the Visual Arts Nurture ......................................................................
    [Show full text]