News

UAAC election at the AGM in Waterloo

There will be an election at the 2018 Annual General Meeting on October 27th at the conference in Waterloo ON.

The election will be for a BC representative.  A list of candidates is attached below or you can follow the link here.

A proxy form is also available below or by following this link.

ECOLOGIES OF LANDSCAPE

ECOLOGIES OF LANDSCAPE

10 NOVEMBER to 26 JANUARY 2019

Tacita Dean, Bonnie Devine, Olafur Eliasson, Isabelle Hayeur, Shelley Niro, James Nizam, Reinhard Reitzenstein, Simon Starling, Paul Walde

Curated by Mark A. Cheetham 

BEC Project Space 315 King St. West, 2nd Floor

Barbara Edwards Contemporary is pleased to present our inaugural exhibition for BEC Project Space at 315 King Street West. Ecologies of Landscape gathers work by nine highly accomplished artists from Canada and abroad to re-imagine our perceptual, aesthetic, and ethical relationships with our home planet. In diverse media and from a variety of cultural and geographical perspectives, these artists ponder what our connections to the Earth might be in this time of widespread concern about climate change. Especially in Canada, landscape painting has been the dominant way to approach and appreciate what we construe as 'nature' as well as our own identities. With increasing urgency since the 1960s, however, artists worldwide have grappled with the inadequacies of the landscape genre amidst concerns over land stewardship and the environmental degradation of our shared planet. Works in this exhibition reconceive land and landscape as presented and experienced in art.

Ecologies of Landscape challenges us to reconsider what art and artists can contribute to the ecological future of the Earth, what 'being terrestrial' means for each of us. British European artist Tacita Dean photographs the stunning oddities of Madagascan Baobab trees. Bonnie Devine's Radiation and Radiance drawings and Canoe: to the North Shore narrate the discovery of uranium near Elliot Lake in the Algoma region of northern Ontario and its impact on the Anishinaabe Ojibwa of the Serpent River First Nation, to which she belongs. Documenting a rock on an Icelandic glacier from all sides, Olafur Eliasson's photo series The small glacier surfer sets the long game of geological change against the time it takes for a human being to move around an object. Isabelle Hayeur disrupts the seductive beauty of conventional underwater photography with a troubling image of Spirogyra - a plant that thrives on pollutants left by humans - photographed in Québec's Eastern Townships. Reflecting on the horrors of missing and murdered Indigenous women, Shelley Niro's photographs recall landscape photography in a familiar role, that of nature as a refuge from a violent human world. James Nizam employs the magic of the camera obscura to create two still images focusing our gaze on that most fundamental diurnal phenomenon, the rising and setting of the sun. Reinhard Reitzenstein's meticulous 'text' drawings of trees intone a profound reverence for these arboreal beings. British artist Simon Starling's digital video and stills titled Project for a Rift Valley Crossing - set in the Dead Sea area of the Middle East - hypnotically involve us in the material and conceptual dimensions of our interactions with land and water. Paul Walde's video Tom Thomson Centennial Swim returns to a regional obsession about landscape art and the land, commemorating Thomson's mysterious death on Canoe Lake in 1917.

BEC would like to thank the following representing galleries and artists for contributing works to Ecologies of Landscape: Tacita Dean, Marian Goodman Gallery, New York; Bonnie Devine, courtesy of the artist; Olafur Eliasson, Tanya Bonakdar Gallery, New York; Isabelle Hayeur, courtesy of the artist; Shelley Niro, courtesy of the artist; James Nizam, Birch Contemporary, Toronto; Reinhard Reitzenstein, Olga Korper Gallery, Toronto; Simon Starling, Casey Kaplan, New York; Paul Walde, represented by Barbara Edwards Contemporary.

Ecologies of Landscape is curated by Mark A. Cheetham, University of Toronto. His book Landscape into Eco Art: Articulations of Nature Since the '60s was published in 2018. Neda Omidvar, Director at Barbara Edwards Contemporary, is the Assistant Curator.

With special thanks to the Chloe Danyliw Collection for hosting this project.

BEC Project Space 315 King St. West, 2nd Floor Toronto, ON M5V 1J5 Gallery Hours: Wed to Sat, 1 - 5pm (or by appointment) T 647 878 4444

For more information, contact: barbara@becontemporary.com

REFRAMING DORIS McCARTHY: A SYMPOSIUM ON THE LIFE AND WORK OF DORIS McCARTHY

REFRAMING DORIS McCARTHY: A SYMPOSIUM ON THE LIFE AND WORK OF DORIS McCARTHY

Saturday, November 17, 2018 9 am – 6 pm Doris McCarthy Gallery University of Toronto Scarborough

Free shuttle bus for registered guests departs OCAD U (100 McCaul St) at 8:30 am, to return at 6:30 pm.

Register here by October 19 to secure your spot.

Keynote by: Erin Silver

Presentations by: Steven Beckly, Jan L. Coates, Dustin Garnet, Nancy Holmes, Meghan Hyckie, Hussein Janmohamed, Harold Klunder and Catherine Carmichael, Eva Kolcze, Ralph Kolewe, Lou Sheppard, Wendy Wacko, and Lynne Wynick

The Doris McCarthy Gallery presents Reframing Doris McCarthy, a free, one-day, public symposium exploring fresh perspectives on the life and work of Doris McCarthy. The symposium will feature artist talks, poetry readings, academic papers, performances, a book launch, group choreography, participatory choral singing, and moderated discussions. Ranging from long-time friends and colleagues of McCarthy’s, to young artists and producers, the presenters will contribute new interpretations from a broad range of expertise within the fields of contemporary art, music, poetry, filmmaking, and dance that trace the artist’s legacy through spirituality, mythology, and the power of place. This multi-disciplinary symposium will examine McCarthy’s impact on local and artistic communities as a pioneering feminist, innovative artist, and community builder.

Erin Silver’s keynote will provide a contemporary entry point to thinking about McCarthy and her networks, women artists at the time, as well as the world-making potential of McCarthy's Fool's Paradise home and studio, both at the time she occupied it and in its present-day incarnation as an artist's residency.

McCarthy was born on July 7, 1910 in Calgary, Alberta and spent her youth in the Beach area of Toronto. In 1926 she earned a scholarship to the Ontario College of Art (OCA) where she was mentored by some of the premier Canadian artists of the early twentieth century, including both Arthur Lismer and JEH MacDonald. Soon after graduating from OCA in 1930, McCarthy’s works were exhibited in the 1931 Ontario Society of Artists’ (OSA) Annual Exhibition. She was accepted as a member of the Society in 1945 and later went on to become OSA Vice President from 1961 to 1964 and President from 1964 to 1967. During this period, she established her position as one of Toronto’s major emerging artists and then as perhaps the foremost, female landscape painter in Canada. With memberships in the Royal Canadian Academy of Artists (1951) and the Canadian Society of Painters in Watercolour (1951, and for which she served as President from 1956 to 1958), her receipt of five Honorary Doctorates from five different Canadian Universities from 1995 to 2002, her induction into the Order of Ontario (1992) and the Order of Canada (1986), her place among the great Canadian artists has been solidified. McCarthy was a lifelong learner and graduated from the University of Toronto Scarborough in 1989 with an Honours Bachelor of Arts degree.

McCarthy was a deeply committed teacher and community member. She designed the (then) City of Scarborough’s flag, worked to preserve the ecologically sensitive Scarborough Bluffs, and lent her name and talents to a variety of causes in the area. Today, McCarthy’s legacy continues at Fool’s Paradise, her former home that is now an artist’s residence operated by Ontario Heritage Trust for the benefit of visual artists, musicians and writers of all disciplines, offering privacy and opportunity for artists to concentrate on their work.

Reframing Doris McCarthy is presented in conjunction with the body may be said to think, an exhibition of landscape works by Doris McCarthy and Kate Wilson, curated by Stuart Reid. The exhibition runs from November 16 to January 26, 2019 at the Doris McCarthy Gallery.

Visit our website for more information on Reframing Doris McCarthy including participant biographies and presentation abstracts.

Everyone welcome. Please register here by October 19 to secure your spot.

An ASL interpreter will be available during the symposium.

If you require any other assistance or information please contact Julia Abraham: 416.208.2770, jabraham@utsc.utoronto.ca. Doris McCarthy Gallery University of Toronto Scarborough 1265 Military Trail Toronto, Ontario M1C 1A4 416.287.7007 dmg@utsc.utoronto.ca www.utsc.utoronto.ca/dmg

Tuesday, Thursday, Friday, 11 am to 4 pm; Wednesday, 11 am to 8 pm; Saturday, 12 to 5 pm. Admission is free. Open to the public. The gallery is wheelchair accessible. Facebook | Twitter | Instagram | YouTube

Critical Heritage Studies in Canada / Études critiques du patrimoine au Canada Volume 52 Issue 1

Journal of Canadian Studies Volume 52, No. 1

JCS Online

Critical Heritage Studies in Canada / Études critiques du patrimoine au Canada

Introduction: Critical Heritage Studies in Canada / Études critiques du patrimoine au Canada Susan L.T. Ashley, Andrea Terry, Josée Lapace

But What Are We Really Talking About? From Patrimoine to Heritage, a Few Avenues for Reflection

Lucie K. Morisset

This article proposes a history of the ideas of heritage founded on the differentiation between the concepts of heritage and patrimoine according to the two official languages in which they are approached and considered in Canada: that is, English and French. To do this, the author examines a varied corpus of published and unpublished historic and contemporary documents in order to determine the paradigms, the significance, and the practices that underlie the articulation and usage of the words heritage, patrimoine, and a few of their equivalents, according to their respective eras.

On the Call for a Residential Schools National Monument

Trina Cooper-Bolam

In its final report, the Truth and Reconciliation Commission of Canada called "... upon the federal government, in collaboration with Survivors and their organizations, and other parties to the Settlement Agreement, to commission and install a publicly accessible, highly visible, Residential Schools National Monument in the city of Ottawa to honour Survivors and all the children who were lost to their families and communities." As we reckon with this "call to action" number 81, and bear witness to recent and ongoing public repudiation of contentious monuments, it becomes apparent that the logic of such a monument must be questioned.

Recognition and Repentance in Canadian Multicultural Heritage: The Community Historical Recognition Program and Italian Canadian Memorializing

Caitlin Gordon-Walker, Analays Alvarez Hernandez, Susan L.T. Ashley

In this article, we examine the multiculturalization of Canadian heritage, and, in particular, the shift to a politics of repentance that has emerged in the past few decades, recognizing specific instances of violence and exclusion that occurred in the nation's past. Understood in relation to a duty to remember (devoir de mémoire) and a growing global discourse of reconciliation, as well as locally specific demands for redress, this shift has occurred through a convergence of institutional and grassroots activities, and it is exemplified by the Community Historical Recognition Program (CHRP).

The Keystone of the Neighbourhood: Gender, Collective Action, and Working-Class Heritage Strategy in Pointe-Saint-Charles, Montreal

Cynthia Imogen Hammond

In 1973, in the deindustrializing, impoverished Montreal neighbourhood of Pointe-Saint-Charles, neighbourhood activists-normally preoccupied with jobs, housing, and food security-made the fate of an 82-year-old fire station their top concern. Pointe-Saint-Charles was the proposed site for a new highway construction: le Projet Georges-Vanier. If built, this artery would have sliced the working-class community in half, destroying the fire station as well as a much-loved public park, and displacing about 140 families in turn.

Qui chante la nation ? La patrimonialisation de la chanson au Québec depuis la Révolution tranquille

Pierre Lavoie

Dans cet article, l'auteur propose de revisiter les travaux antérieurs portant sur les rapports de la chanson à l'identité culturelle et au nationalisme québécois à la lumière de la notion de patrimonialisation et de ses concepts opératoires tels que le patrimoine « non autorisé » - unauthorised (Roberts et Cohen 2014). Il avance l'hypothèse que cette relecture de l'histoire de la musique populaire relativise et précise la teneur des récits vus comme hégémoniques, de même qu'elle souligne le caractère processuel, politique et constamment renouvelé des procédés de légitimation et de transmission dans le temps d'une mémoire collective de - ou par - la chanson.

The Mosque as Heritage Site: The Al-Rashid at Fort Edmonton Park and the Politics of Location

Nadia Kurd

In 2013, the Al-Rashid Mosque celebrated a major milestone that almost did not happen: its 75th anniversary. As the oldest purpose-built mosque in Canada, the building has had a storied history: constructed with the combined support of a burgeoning Muslim community and the City of Edmonton, the Al-Rashid had served the Muslim and, more broadly, the Arab community until congregants outgrew the space during the 1980s.

Patrimoine et territorialisations: les imaginaires culturels du terroir dans la région des Laurentides au Québec

Jonathan Paquette, Aurélie Lacassagne, Robin Nelson

Cet article s'interroge sur le terroir comme mode de production d'un patrimoine. En s'intéressant au cas du Québec, et en particulier à la région des Laurentides, cet article met en évidence les processus patrimoniaux qui sont à l'œuvre dans le mouvement du terroir. Cet article illustre comment le patrimoine et les imaginaires patrimoniaux participent à la construction récente des régions et d'une nouvelle ruralité au Québec à travers de nouvelles productions, de nouveaux produits et des itinéraires agro-patrimoniaux.

Pedagogies of Remembrance and "Doing Critical Heritage" in the Teaching of History: Counter-memorializing Canada 150 with Future Teachers

Lisa Karen Taylor

This article argues that critical heritage studies has much to offer critical approaches to history education that are attentive to the profound challenges to settler colonial national narratives and memory politics occasioned by #Colonialism150 and the 2015 Truth and Reconciliation Commission calls to action. The argument is grounded in a review of current debates over the status of Indigenous approaches to the past and memory-based historical accounts within competing movements in history education.

Settler and Indigenous Stories of Kingston/Ka'tarohkwi: A Case Study in Critical Heritage Pedagogy

Laura J. Murray

The article uses the example of a university course about the Indigenous and settler histories of Kingston, Ontario, and the Crawford Purchase that constitutes its treaty, to argue that critical heritage practice can importantly and effectively be embodied as critical pedagogy. Beginning with a personal genealogical reflection by the author whose family was granted land by King George III in 1796, the article describes the Crawford Purchase and some of the questions it raises.

The Practice of Critical Heritage: Curatorial Dreaming as Methodology

Shelley Ruth Butler

In this article, I introduce the methodology of curatorial dreaming as a tool for exploring possibilities and limitations of critical heritage in Canada. Curatorial dreams are imagined exhibitions or interventions in museums, galleries, and heritage and vernacular sites.

Unsettling Canadian Heritage: Decolonial Aesthetics in Canadian Video and Performance Art

Sarah E.K. Smith , Carla Taunton

Issues of settler colonialism in Canada are prominent in public discourse in the wake of the 2015 findings by the Truth and Reconciliation Commission. These histories, rooted in legacies of cultural genocide and

trauma, disrupt national mythologies of the Canadian state as benevolent and inclusive.

Review / Compte Rendu Is Canadian Heritage Studies Critical?

Marina La Salle, Richard M. Hutchings

In this review, we use recent publications in the field of Canadian heritage studies to consider the roles of critical theory generally and critical heritage studies in particular.

 

Read more at JCS Online

McMaster Museum of Art - new season of exhibitions & events

McMaster Museum of Art

presents a new season of exhibitions & events

URSULA JOHNSON: Mi’kwite’tmn (Do You Remember)

BRUCE BARBER: The Bertrand Russell Reading Room

ERNEST DAETWYLER | The Boat Project/everythingwillbefine

JEREMY DUTCHER Concert | The Socrates Project

and continuing exhibitions

Undying Hope for this Dangerous World: Bertrand Russell in perspective

Wine, Water, and Oil: Domestic Vessels from the Greek and Roman World

Ursula Johnson: Mi’kwite’tmn (Do You Remember)

September 13 – December 8, 2018
Organized by Saint Mary’s University Art Gallery
Curated by Robin Metcalfe

Ursula Johnson’s practice ranges from fine craft and traditional Indigenous art forms through performance and installation.  Mi’kwite’tmn (Do You Remember) examines ideas of ancestry, identity and cultural practice. Johnson deconstructs and manipulates the function and image of Mi’kmaw basketry, using traditional techniques to build non-functional forms. The artist explores the impact of colonialism on Indigenous material and linguistic culture, and challenges the museological and ethnographic frame imposed upon it.

Ursula Johnson is an interdisciplinary artist from Nova Scotia with Mi’kmaw Ancestry, currently based out of Eskasoni Nation.  In 2017, Johnson won the Sobey Art Award, Canada’s biggest contemporary art prize. <More information>

Bruce Barber: The Bertrand Russell Reading Room

September 13 – December 22, 2018 
In conjunction with the 50th anniversary of the Bertrand Russell archives at McMaster, the Museum invited Nova Scotia College of Art and Design professor Bruce Barber to develop an artist project. The artist has devised a reading room environment. The key gallery element is a recreation of the Brixton prison cell where Russell spent 6 months in 1918 and a quote from Russell, realized in neon: “War does not determine who is right – only who is left.” Other Russell quotes will be positioned on the gallery walls, with two Barber-produced videos to raise awareness of Russell’s life and work and continuing relevance in today’s world.  <More information>
 

Ernest Daetwyler: The Boat Project/everythingwillbefine

2018 – 2020
This summer, artist Ernest Daetwyler installed a boat built from pieces of scavenged driftwood in the MMA Artist Garden. The surreal and poetic installation is intended to symbolize a time of change, challenges, and the existential fluctuations that life can present.  <More information>

ERNEST DAETWYLER  |  ARTIST TALK
Thursday October 18, 12:30 – 1:20 pm
Light refreshments to follow presentation.

News- Nouvelles- 2018 Essai étudiant- AAUC-UAAC Student Essay Prize

UAAC is pleased to announce that this year’s student essay prize has been awarded to Vanessa Bateman for her essay "Ursus horribilis".

The jury made a point of noting that this year's round was exceptionally competitive: four essays stood out as unquestionably of publishable quality.

This award comes with a cash prize of $250, and the opportunity to publish the essay in our journal, RACAR.

AAUC a le plaisir d'annoncer que le prix de l'essai étudiant de 2018 a été décerné à Vanessa Bateman pour son essai "Ursus horribilis".

Le jury a fait remarquer que le cycle de cette année était exceptionnellement compétitif: quatre essais se sont distingués comme étant incontestablement de qualité publiable.

Ce prix est livré avec un prix de 250$ et l’opportunité de publier l'essai dans notre journal, RACAR.