The Making of a Museum 9780228007609

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The Making of a Museum

Footprints Series Jane Errington, Editor The life stories of individual women and men who were participants in interesting events help nuance larger historical narratives, at times reinforcing those narratives, at other times contradicting them. The Footprints series introduces extraordinary Canadians, past and present, who have led fascinating and important lives at home and throughout the world. The series includes primarily original manuscripts but may consider the Englishlanguage translation of works that have already appeared in another language. The editor of the series welcomes inquiries from authors. If you are in the process of completing a manuscript that you think might fit into the series, please contact her, care of McGill-Queen’s University Press, 1010 Sherbrooke Street West, Suite 1720, Montreal, qc, h3a 2r7. 1 Blatant Injustice The Story of a Jewish Refugee from Nazi Germany Imprisoned in Britain and Canada during World War II Walter W. Igersheimer Edited and with a foreword by Ian Darragh 2 Against the Current Memoirs Boris Ragula

7 The Greater Glory Thirty-seven Years with the Jesuits Stephen Casey 8 Doctor to the North Thirty Years Treating Heart Disease among the Inuit John H. Burgess 9 Dal and Rice Wendy M. Davis

3 Margaret Macdonald Imperial Daughter Susan Mann

10 In the Eye of the Wind A Travel Memoir of Prewar Japan Ron Baenninger and Martin Baenninger

4 My Life at the Bar and Beyond Alex K. Paterson

11 I’m from Bouctouche, Me Roots Matter Donald J. Savoie

5 Red Travellers Jeanne Corbin and Her Comrades Andrée Lévesque 6 The Teeth of Time Remembering Pierre Elliott Trudeau Ramsay Cook

12 Alice Street A Memoir Richard Valeriote 13 Crises and Compassion From Russia to the Golden Gate John M. Letiche

14 In the Eye of the China Storm A Life Between East and West Paul T.K. Lin with Eileen Chen Lin

21 Call Me Giambattista A Personal and Political Journey John Ciaccia

15 Georges and Pauline Vanier Portrait of a Couple Mary Frances Coady

22 Smitten by Giraffe My Life as a Citizen Scientist Anne Innis Dagg

16 Blitzkrieg and Jitterbugs College Life in Wartime, 1939–1942 Elizabeth Hillman Waterston

23 The Oil Has Not Run Dry The Story of My Theological Pathway Gregory Baum

17 Harrison McCain Single-Minded Purpose Donald J. Savoie

24 My Peerless Story It Starts with the Collar Alvin Cramer Segal

18 Discovering Confederation A Canadian’s Story Janet Ajzenstat

25 Wrestling with Life From Hungary to Auschwitz to Montreal George Reinitz with Richard King

19 Expect Miracles Recollections of a Lucky Life David M. Culver with Alan Freeman

26 Never Rest on Your Ores Building a Mining Company, One Stone at a Time Norman B. Keevil

20 Building Bridges Victor C. Goldbloom

27 The Making of a Museum Judith Nasby

The Making of a Museum Judith Nasby

McGill-Queen’s University Press Montreal & Kingston

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London

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Chicago

© McGill-Queen’s University Press 2021 ISBN 978-0-2280-0620-6 (cloth) ISBN 978-0-2280-0760-9 (ePDF) Legal deposit third quarter 2021 Bibliothèque nationale du Québec Printed in Canada on acid-free paper

We acknowledge the support of the Canada Council for the Arts. Nous remercions le Conseil des arts du Canada de son soutien.

Library and Archives Canada Cataloguing in Publication Title: The making of a museum / Judith Nasby. Names: Nasby, Judith, 1945- author. Series: Footprints series (Montréal, Quebec) ; 27. Description: Series statement: Footprints series ; 27 | Includes bibliographical references and index. Identifiers: Canadiana (print) 20210167963 | Canadiana (ebook) 20210168072 | ISBN 9780228006206 (cloth) | ISBN 9780228007609 (ePDF) Subjects: LCSH: Art Gallery of Guelph—History. | LCSH: Macdonald Stewart Art Centre—History. | LCSH: University of Guelph—History. | LCSH: Art museums— Ontario—Guelph—History. Classification: LCC N910.G84 N37 2021 | DDC 708.11/343—dc23

This book was designed and typeset by studio oneonone in Minion 10.6/13

Contents

Foreword ix Preface xi Acknowledgments xiii 1 The Beginning (1916–1967) 3 2 University of Guelph Art Gallery (1968–1980) 13 3 Macdonald Stewart Art Centre (1980–2014) 35 4 Permanent Collection Specializations 56 5 Sculpture Park 94 6 Curatorial and Educational Programming 107 7 Art Gallery of Guelph (2014–Present) 117

Appendix 1 Macdonald Stewart Art Centre Armorial Bearings 121 Appendix 2 Publications from 1969 to 2016 124 Appendix 3 Exhibitions from 1952 to 2016 145 Artist Biographical Resources 177 Illustrations 179 Notes 189 Bibliography 193 Index 199

CHAPTER 1

Foreword

During an era of noteworthy museum development in Canada, the Macdonald Stewart Art Centre has been recognized as an exceptional university art museum. Widely acknowledged as a model of professional and creative leadership, the Centre demonstrated its excellence through the selection of art and artists, as well as the quality of research and breadth of insights shared through publications. Among other achievements, the museum has been, and continues to be, a primary leader in bringing firsthand knowledge and a sensitive understanding of Inuit art and artists to a worldwide audience. Much of this success can be attributed to Judith Nasby’s scholarship and leadership. In dedicating her career to this institution, Judith ensured it had a consistent focus on well-researched exhibitions and collection development, exceptional community relations and a remarkable generation of funding, as recognized by the many staff whose professional development she nurtured over the years. An important record of this institution’s achievements, her memoir reveals her significant contribution to the Canadian museum community and to Canada’s stature in the international museum world.

m a r g a r e t d ry d e n Former chief of exhibitions at the National Gallery of Canada, and former head of visual arts, craft, and architecture funding at the Canada Council for the Arts

CHAPTER 1

Preface

After a modest beginning at the Ontario Agricultural College, the Macdonald Stewart Art Centre soon achieved international recognition for its exhibitions and collections. Many people contributed through their imagination and energy to create a public art gallery for Guelph. This memoir tells the story of the personalities and events that shaped the museum over the past 100 years. The university collection began in 1916 with the purchase of Tom Thomson’s last large canvas. In the 1960s a gallery space was created in a campus corridor thanks to the use of clip-on lights. Curiously, cigarettes have played a significant role. In 1972 the gallery moved to improved facilities in the university library to show Rothmans of Pall Mall Canada’s exhibition of Rodin bronzes. In 1904 the Macdonald Tobacco Company of Montreal funded a model school that was renovated in 1979 to become the Macdonald Stewart Art Centre, and du Maurier Arts sponsored commissions that led to the creation of a sculpture park. The Macdonald Stewart Art Centre was established through a partnership between the University of Guelph, the City of Guelph, Wellington County, and the Upper Grand District School Board to create a community-based art museum to serve the campus and the general public. The sponsoring bodies created a very successful partnership that fulfilled the objectives and provided the financial stability allowing the staff to concentrate their creative energies on curating exhibitions, engaging the public in educational programs and developing the collections. Since 1980 the Art Centre has established a number of unique collection specializations that have led to international touring exhibitions and scholarly publications. Each specialization has its own story to tell. This memoir shares the anecdotes and initiatives of those who helped create a public art gallery for the Guelph community. The stories reveal how an arts institution can be created by dedicated personalities through serendipity and perseverance.

My objective is to contribute to Canadian museology literature by writing about the development of a mid-sized Canadian city’s art museum that is quite different from the art institutions in major cities across the country. This book adds new information to the record of cultural development in the city and the university. In 2014, the Macdonald Stewart Art Centre was renamed the Art Gallery of Guelph to affirm its location and mandate. Many people have contributed to the success of the Art Centre – the trustees, volunteers, donors and artists who support the museum’s vision and place in the cultural life of the community. I thank John and Nancy Bligh for sponsoring this book, giving me the opportunity to reflect on my forty-five years as director and curator. John and Nancy are both retired English professors who arrived on campus in 1970 and witnessed the growth of the gallery. I appreciate the assistance of former acting director and curator of contemporary art Dawn Owen. I also thank Gwenyth Chao, who helped me with formatting the manuscript. I thank Art Gallery of Guelph director Shauna McCabe, who joined the gallery in 2016, and chair of the board of trustees Daniel Atlin for supporting my endeavour to tell the story leading up to the Art Gallery of Guelph as it is today.

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PREFACE

CHAPTER 1

Acknowledgments

I thank those who encouraged me and saw value in my endeavour to write a memoir/history of the gallery. In particular, I would like to thank Daniel Atlin, Irene Avaalaaqiaq, Sandra Barz, Wynn Bensen, Nina Berry, Keith Betteridge, Rekha Bhatnagar, Feng Bin, John and Nancy Bligh, Marie Bouchard, Helen Brimmell, Gwenyth Chao, Margaret Dryden, Patricia Flood, Renann Isaacs, Shauna McCabe, Maureen McIntyre, Dawn Owen, Martin Pearce, Gord Peteran, Ron and Fran Shuebrook, Naomi Smith, Christina Smylitopoulos, Janey Southey, Elizabeth Stone, Alastair and Catherine Summerlee, Shawn Van Sluys, Cosmina Ionescu and Franco Vaccarino, Luo Zhongli, the late William G. Bensen, the late Lois Betteridge, and the late Ken Hammill. I would also like to thank those Macdonald Stewart Art Centre trustees who have had a special interest in this endeavour: Marilyn Murray, Cheryl Ruddock, Nancy Sullivan, John Valeriote, and Marva Wisdom. Finally, I would like to thank the outstanding staff at McGill-Queen’s University Press, especially my editor, Philip Cercone, editorial assistant Joanne Pisano, copy editor Correy Baldwin, and Footprints series editor Jane Errington. Excerpt by permission with minor adaptation and additions from Nasby, “Macdonald Stewart Art Centre,” Canadian Collector 5 (September/October 1980): 34–8, through the Macdonald Stewart Foundation, Montreal. Excerpt by permission with minor adaptation and additions from Nasby, University of Guelph Art Collection. Guelph: University of Guelph, 1980. Every effort has been made to secure permission for all copyright material.

The Making of a Museum

1.1 Professor O.J. Stevenson

CHAPTER 1

The Beginning (1916–1967) The Ontario Agricultural College’s (oac ) most illustrious graduate John Kenneth Galbraith (oac 1931) said that the oac was the most “backward college” he had ever attended.1 Surely Galbraith could trace his own interest in the arts to the efforts of an English professor whose dedication brought concerts and works of art to the campus in the 1920s and 1930s.2 O.J. Stevenson (plate 1.1), professor of English from 1916 to 1939, was committed to expanding the cultural horizons of students by purchasing significant works of art to initiate a college collection. From this modest beginning to a century later, Guelph now has a prestigious internationally recognized art gallery serving the city and university with a joint collection of nine thousand artworks, as well as a sculpture park. Stevenson wrote in the 1916 oac annual report: “It is important, I think, that the young farmer go out from the Ontario Agricultural College not only with an appreciation of the best literature, but also with a taste for fine pictures and good music.”3 Stevenson would have been familiar with the breakthrough exhibitions of Tom Thomson and the Group of Seven at the Art Gallery of Toronto (now the Art Gallery of Ontario) and at the National Gallery in Ottawa, as well as Hart House at University of Toronto, which was then forming an art collection. His desire to emulate this initiative was achieved in an unusually creative way. He organized the campus custodians and students to collect used newspapers. A paper-baling machine was purchased, and proceeds from the sale of used paper, plus admissions from his Canadian authors lecture series, were deposited into a picture fund that he administered on behalf of the college.

THE DRIVE

In 1925 Stevenson visited the Studio Building in Toronto to arrange for the purchase of Tom Thomson’s The Drive (plate 1.2) from the artist’s estate for around $500.4 An impressive unveiling ceremony was held at War Memorial Hall on the oac

1.2 Tom Thomson, The Drive, 1916–17, oil on canvas 1.3 Opposite Marc-Aurèle de Foy Suzor-Coté, The Old Willow, 1924, oil on canvas

campus with Group of Seven member Arthur Lismer as guest lecturer. This was a remarkable achievement for Stevenson to acquire the last large canvas by Thomson, painted circa 1916, after completing The West Wind, in the collection of the Art Gallery of Ontario, and The Jack Pine, at the National Gallery of Canada. The Drive was Stevenson’s first purchase and it remains the keystone artwork in the Art Gallery of Guelph’s collections. Some writers like Joan Murray have speculated that the painting is unfinished and shows another hand. An examination by conservator Ursus Dix revealed only a small amount of retouching evident at the edges. Thomson’s brother George, also an artist, likely filled in these areas to make the canvas fit its frame. The painting represents a style change for Thomson: he depicted the 4

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background in an Art Nouveau flat-patterning style, while the tumbling logs in the foreground are painted with his iconic broad and expressive brush strokes. One can only speculate the direction Thomson would have taken if he had not been cut short by his tragic death in 1917. In the 1990s, Ken Thomson, an influential British/Canadian businessman, art collector, and philanthropist, called University of Guelph president Brian Segal and asked to see The Drive. When Thomson saw it hanging in the gallery, he mentioned that he owned the sketch and he asked if the university would sell him the painting. When Segal asked my opinion, I launched into a speech about how the collection is built around The Drive, purchased by student-raised funds, and how it meant a great deal to the community. Segal told Thomson that the painting was not for sale. Later, I wrote Ken Thomson to ask if he would donate the sketch to Guelph. I hoped to reunite the sketch with the large studio painting, to enrich the representation and future scholarship of The Drive in the Art Centre’s collection. He politely declined and said his ambition was to own every Thomson painting. The sketch for The Drive now permanently hangs in the Thomson galleries at the Art Gallery of Ontario. Stevenson’s second purchase for the oac collection was also spectacular. In the 1920s, Marc-Aurèle de Foy Suzor-Coté was one of Canada’s most successful artists.

5

In 1928 Stevenson negotiated the purchase of Suzor-Coté’s largest canvas, The Old Willow (plate 1.3). Although by the 1890s Impressionism was out of date in Europe, it was still immensely popular in Canada at that time. It was so popular, in fact, that Suzor-Coté enjoyed a prosperous retirement in Daytona Beach on the sale of his paintings. Stevenson made his third purchase – Suzor-Coté’s bronze sculpture L’Essoucheur (The land cleaner), circa 1917 to 1922 (cast 1925) – by encouraging graduating oac classes to sponsor an artwork. This sculpture, gift of the class of 1930, shows a farmer removing a stump to clear a field, a symbolic reference for the students whose ancestors had settled and established farmland in Upper Canada (now Ontario) in the early nineteenth century. In late 1927, an intercollege art club was formed to consider the possibility of purchasing at least one Canadian painting each year to be hung in either War Memorial Hall or the college dining room.5 In 1930, President G.I. Christie established a College Fund for building a collection of Canadiana, which was to include books, art, and music. He entrusted the selection of these items to Stevenson.6 Although art courses were not part of the regular curriculum, agricultural professors like Daniel H. Jones, an artist himself, attempted to make the students more aware of the arts through extracurricular activities and articles he wrote on art appreciation for the oac Review.7 Jones painted scenes of the campus and illustrated his Handbook on Plant Diseases with his own beautifully executed watercolours, in the style of eighteenth-century botanical artist Georgius Dionysius Ehret, including the use of a handsome monogram for his signature. During the 1920s and 1930s, between fifteen and twenty paintings were regularly borrowed from the National Gallery of Canada for rotating display in the dining hall (Creelman Hall) on the Guelph campus.8 Works purchased for the new collection were prominently displayed in various campus locations including Massey Library (plate 1.4) and Community House, a suite of rooms in Johnston Hall that served as the president’s residence. The current President’s House, now an independent stone building near to Creelman Hall, began as the residence for the professor of agriculture. Artists were also invited to the campus during this early period of development to give lectures and demonstrations. Painter C.W. Jefferys came to the campus in 1920 and sculptor Jacobine Jones visited in 1933.9 Jones was a resident artist, working in a studio in the Horticulture Building, where she made clay models of animals from the college herd. Two bronze sculptures, one of a Clydesdale mare and the other of a Jersey bull, were added to the collection in 1935 and 1939 respectively, and also served as trophies for the annual College Royal livestock competition and show. 6

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1.4 Massey Library reading room

Other artists like painter George Agnew Reid and painter/printmaker Mary Wrinch visited the campus and later presented gifts of their own work for the growing collection. Stevenson continued to encourage graduating classes to support acquisitions and he negotiated the purchase of Reid’s 1931 Champlain Dreams of the Way to Cathay, perhaps a subject he chose to inspire the students toward more worldly ambitions. After Stevenson’s retirement in 1939, Professors G.E. Reaman and E.C. McLean, later heads of the English department, continued Stevenson’s initiatives and sponsored touring exhibitions for showing at Massey Library. In the early 1950s the Massey Library began collecting under the careful direction of chief librarian Florence Partridge. In her thirty-nine years of service, she actively encouraged artists through library art purchases, long-term loans from artists to the campus, and a regular program of changing exhibitions from local and national sources. As there was no dedicated budget for art, Partridge managed to have a little left over in the furnishings budget at the end of the year, which enabled her to acquire such works as Carl Henry von Ahrens’s The Forest Path.10 The artworks were hung in the library’s reading room. On her retirement, Partridge left a major endowment for art purchases as her legacy for the campus. Her concept was that the curator would make an annual art acquisition in consultation with students from each of the colleges in turn. We followed this format for many years and then decided it would be more effective to allow the fund to grow in order to amass enough interest to make major art purchases every few years. A number of the sculpture park commissions were funded in this way, providing a source of matching funds from federal and provincial grants. Partridge’s 1954 inventory showed forty-nine artworks in the collection. In 1958, oac president J.D. MacLachlan invited A.Y. Jackson, a member of the Group of THE

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1.5 Evan Macdonald, George Sydney Smith, the Air Gunner, 1942, oil on canvas 1.6 Opposite A.J. Casson, Ontario Village, Spring, 1948, oil on board

Seven, to be a resident artist at the college. Jackson stayed with the MacLachlan family at the President’s House. While on campus he sketched college buildings and completed one of his largest paintings: a mural, measuring about one metre high by two and a half metres wide, that depicted the college green, showing Johnston Hall, the Chemistry Building, Massey Hall, and the Massey Library. A notable painting that hung in the library reading room was a portrait of George Sydney Smith, the Air Gunner (plate 1.5) painted by artist Evan Macdonald. Macdonald was born in Guelph and trained in the Royal Academy in London. In 1945, members of the 1944 to 1945 short course at rcaf Guelph’s Wireless School commissioned him to paint a portrait of one of their classmates to symbolize their stay on campus. The sitter, George Smith from Toronto, was in training at the Wireless School at the time. Smith, aged 17 or 18 when this portrait was painted, was killed in action during the Second World War.11 Later, the painting was featured in Flora Macdonald Spencer’s book on the life and art of her father, Evan Macdonald, as well as in the accompanying retrospective exhibition at Art Centre. 8

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One senses that there must have been a certain amount of competition between the oac , the Macdonald Institute, and the Ontario Veterinary College (ovc ) to acquire works of art. The Macdonald Institute began collecting art in 1953 with the purchase of Lawren Harris’s Pines, Kempenfelt Bay. They also acquired smaller canvases by Group of Seven members J.E.H. MacDonald, Arthur Lismer, and A.J. Casson (plate 1.6), as well as by their contemporary Yvonne McKague Housser. These paintings were hung in the dean’s office in the Macdonald Institute and in a model dining room that was a feature of the interior design programs. Professor Edith Bray formed another interesting campus collection of chairs by leading Canadian furniture designers such as Russell Spanner and Thomas Lamb from the 1940s to the 1960s. Unfortunately, this important collection (possibly the only one in existence at the time) was gradually lost through theft and gifting, as it was deemed no longer necessary for the curriculum. Similarly, a historical costume collection was later considered outside the curriculum and was given to the Guelph Civic Museum, as well as to other heritage institutions.12

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The Macdonald Institute, established in 1903, has a long history in art. One of the strongest supporters was Adelaide Hoodless, who fought for the establishment of a school of domestic sciences for women in Guelph. In her address to the Ontario Agricultural and Experimental Union in 1896 she made the following point: Why should not true art be taught in connection with our everyday work and surroundings and in the simple adornment of a home in the country as well as in the more pretentious home of the wealthy citizen? By inculcating a love for harmonious colouring and impressing upon a child the fact that beauty does not consist in the money value of an article, much could be done towards making country homes more attractive, and that social bridge erected between city and country life more easily crossed.13 She called for courses that would give young women an understanding of aesthetics and its place in a home environment, as well as providing them with a thorough scientific education. In the 1950s, Dean Margaret McCready supported this vision by offering weaving courses as part of the curriculum. Woodworking, pottery, and silversmithing were extracurricular subjects taught by practising artists like Lois Etherington Betteridge,

1.7 Florence Wyle (right) and Frances Loring assemble the bas-relief at the Ontario Veterinary College 1.8 Opposite MacNabb Memorial Library showing the bas-relief by Florence Wyle

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who ensured that the silversmithing studio was outfitted with the very best equipment.14 Art history and interior design were gradually introduced. Gordon Couling, who began teaching art and design courses at the Macdonald Institute in 1949, was an indefatigable supporter by using the collection as a teaching resource. Beginning in 1952, Couling organized small exhibitions for monthly showings in the hallways of the Macdonald Institute and in the Massey Library reading room, featuring etchings by Nicholas Hornyansky, watercolours by Walter Phillips, sculptures by Yosef Drenters, European graphics from Avrom Isaacs’s Greenwich Gallery, Pablo Picasso’s Vollard Suite, and a Clarence Gagnon retrospective. In 1954 the ovc commissioned leading sculptor Florence Wyle to create a large plaster relief depicting farm animals as a focal point for the ovc McNabb Memorial Library (plates 1.7 and 1.8).15 In the 1970s, Dean Dennis Howell continued this initiative to display Canadian art by funding paintings by Alex Colville, William Kurelek, Jack Humphrey, and K.M. Graham for exhibition in their library.

BACHINSKI/CHU PRINT STUDY COLLECTION

In 1964, the University of Guelph was established by combining the three founding colleges with the new colleges of arts and science. The formation of a fine art department the following year under the chairmanship of Couling was another stimulus. Fine art students played a major role in developing a specialized collection of historical and contemporary prints by Canadian and international artists. Students contributed half the proceeds from the annual sale of student prints to an art purchase fund, and each year different students served on the print selection THE

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committee. The Bachinski/Chu Print Study Collection was named in recognition of Professors Walter Bachinski and Gene Chu, who taught printmaking and established the collection as a valuable teaching resource. Today, the print collection is housed in the university’s School of Fine Art and Music and curated by Professor Christina Smylitopoulos. The Bachinski/Chu Print Study Collection features historical prints in a range of media, spanning the sixteenth century to the contemporary period, including notable works by international artists Ernst Barlach, Max Beckmann, Marc Chagall, Jim Dine, Albrecht Dürer, Francisco Goya, Wassily Kandinsky (plate 1.9), Robert Motherwell, Pablo Picasso, Giovanni Battista Piranesi, Rembrandt van Rijn, and Georges Rouault. The collection continues to be a research focus for art history, for museum studies, and for those students working in the printmaking studio. Graduate students learn the principles of museum management by researching, cataloguing, and processing acquisitions in print media.

1.9 Wassily Kandinsky (Russian), Composition, 1935, woodcut (restrike)

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CHAPTER 2

University of Guelph Art Gallery (1968–1980) GALLERY IN THE MACKINNON BUILDING

There was a rapid expansion of the University of Guelph’s College of Arts beginning in 1964 with a focus on creating community programming. This was a useful strategy to position the university as a more comprehensive institution, as it was burdened by being known as the “Cow College” or, worse, “Moo U.” Dr A.M. (Murdo) MacKinnon hired concertmaster Edith Kidd to organize free Thursday noon-hour music concerts and other performances that were aimed at attracting the community. In 1968, Couling hired me to be curator of art. My first assignment was to immediately plan an exhibition program, since the previous part-time curator had abruptly left with nothing in place. The exhibition space, in the long first floor corridor of the MacKinnon Building (home of the College of Arts), consisted of brick walls on one side, punctuated with doorways to classrooms, and windows on the other side looking over a treed inner courtyard. There were six large showcases in the adjoining corridor. I solved the lighting problem by removing the pot light bulbs and plugging in clip-on spotlights to illuminate the brick walls. No one seemed to notice or care that the fire code was possibly contravened. The exhibitions changed monthly. I showed National Film Board exhibitions of photography by Lutz Dille and Michael Semak, and co-curated Magic Realism in Canada with the University of Waterloo Art Gallery. We had openings on Sunday afternoons with wine and hors d’oeuvres served in the corridor. I almost missed my first opening because I decided to take the bus. I waited for an hour and then finally called a taxi. Coming from Hamilton, it never occurred to me that Guelph would not have Sunday bus service. The openings were popular, attracting people from the town who were eager to discuss the art and seemed delighted that the city’s cultural scene was expanding. I employed students to assist in hanging exhibitions. My first employee was Margaret Dryden. In 1969 she and fellow student John Wood curated an exhibition titled Canadian Printmakers, working with assistance from Walter Bachinski and

Professor Warren Tresidder to select prints from the Print Study Collection and obtain temporary loans. On the basis of this experience, Dryden was shortly after hired to be director of the Nova Scotia Museum of Fine Arts’ Centennial Art Gallery at the Citadel in Halifax. One of her first experiences was to receive an obscenity charge from the Halifax Police for her exhibition of Fred Ross’s paintings of ballet dancers!1 Dryden later became chief of exhibitions at the National Gallery of Canada and head of visual arts, craft and architecture funding at the Canada Council for the Arts. I created a mailing list of people both on and off campus who had expressed interest in the gallery, as my objective was to create an exhibition program to serve the entire community, not just the university. This objective was fully supported by Professor Couling and Dean MacKinnon. I boldly called the space the “University of Guelph Art Gallery,” which allowed us to apply for grants through the Ontario Arts Council and Canada Council for the Arts. It was unlikely that anyone would actually come from Ottawa or Toronto to see how poorly equipped the facilities were. In 1969 I was invited to become a member of the Ontario Association of Art Galleries, an organization of public gallery directors. Our purpose was to lobby the government for funding and any other issues of concern to public galleries. There were so few of us, all the members formed the board.

TEACHING ASSIGNMENT

In addition to my being curator of art, Professor Couling hired me to teach two courses in my first year (1968–69). I taught a design course for thirty young women who were enrolled in home economics at the Macdonald Institute. The course took place in a studio on the second floor of Zavitz Hall, overlooking what is now the university’s Central Plaza. I purposely parked our red Austin-Healey 3000 convertible directly outside the door to give myself the aura of extra authority, since some of the students were only a few years younger than me. One design project was to glue various found objects on pieces of brown Masonite. I hated teaching this course but loved my second assignment, which was to lead a weekly seminar for the art history introductory course taught by Tresidder. MacKinnon then asked me if I would like to continue as a faculty member or be a professional staff member. After attending dysfunctional faculty meetings, I decided on the professional side because my real interest was in being a curator. A highlight of the University of Guelph Art Gallery’s 1969 to 1970 program was the Art Gallery of Ontario’s touring exhibition of bronze sculptures by Sorel Etrog (plate 2.1). The small bronzes were displayed on plinths in the brick corridor. Eight 14

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large bronzes were prominently displayed outside along the campus’ central walkway, now called Winegard Walk. Included was Etrog’s large bronze Complexes of a Young Lady. A cbc television reporter interviewed me as we walked among Etrog’s bronzes. The interview was broadcast the following day on the national evening news, giving the university a boost of recognition. Over the years, some of the most interesting displays were presented in the showcases, which featured a broad range of objects including eighteenth-century English air twist drinking glasses, domestic tools from Borneo, English Delft pottery, rare books, British theatre posters and playbills, Chinese jades, nineteenth-century Canadian pottery and glass, nineteenth-century hand tools, African ritual sculpture, historical musical instruments, and textiles from India. Microbiology professor Charles Cork lent some of these small collections. He often spoke vaguely about the possibilities of donations. For some unknown reason, he would call me every time he went on a trip to give me his departure and arrival dates, but no donation was ever made. All of these small exhibitions, borrowed from local collectors like Cork, had an audience of hundreds per day, giving these audiences a glimpse into cultures they might not have otherwise seen without going to a major city museum.

2.1 Sorel Etrog: Bronzes exhibition in the MacKinnon Building, 1969

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DOCUMENTING THE COLLECTION

My third assignment in my first year as curator of art was to make an inventory of the university’s artworks. With clipboard in hand, I searched campus wide, retrieving artworks from closets, attics, and empty offices. Among the first paintings I found was a 1905 full-length portrait of Professor J. Hoyes Panton; it was located in a damp basement under a stairwell, wet to the sitter’s knees. I found money to pay a conservator, George Fletcher, to repair the canvas, because this was one of the earliest paintings in the oac collection. Fletcher recommended we cut the professor “off at the knees” to make a three-quarter-length portrait, a solution that saved the painting. One of the first initiatives of the oac was to record benefactors, presidents, and professors who had shaped the development of the college. Large oil paintings were commissioned from fashionable portrait artists like J.W.L. Forster and Edmund Wyly Grier. These portraits, in their elaborate gilded frames, still hang in a dignified setting on the auditorium walls of War Memorial Hall. Other early portraits associated with the oac ’s founding did not fare so well. The majestic portrait of former Ontario minister of agriculture John Dryden, in a massive frame, is torn across the sitter’s waistcoat. It is now stored at the Art Gallery of Guelph, awaiting someone interested in funding its restoration. Other early portraits are in permanent storage at the University of Guelph. The exception is a massive full-length portrait, created in 1882, of ovc founder Andrew Smith that was brought from Toronto when the ovc moved to Guelph in 1922.2 At one time, the ovc also displayed smaller matching portraits of Smith, his wife, his father, and his mother. To this day, the ovc continues the tradition of commissioning painted portraits of retiring deans. An unfortunate occurrence in the 1970s was the gradual discolouration of Artin Cavoukian’s portrait of Colonel Samuel McLaughlin, an important donor to the university library. The Ektachrome photograph, illuminated by bright lights in the library foyer, gradually turned green due to the effect of the high light levels. Cavoukian replaced the portrait and other similar ones. From then on the university commissioned more stable photographic processes that became available for portraits of record. I surveyed every building on campus to create an inventory of artworks. When I entered the rotunda of Johnston Hall, I was alarmed to see Tom Thomson’s magnificent painting The Drive hung on the wall, with oac students playing touch football in front of it! I used my newly minted authority and asked them to stop. I carried on and recorded anything and everything that remotely looked like art to build up as large a list as possible. A large but dispersed collection of art would 16

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2.2 Yvonne McKague Housser, Summer Night, Toronto, 1949, oil on masonite

be a good argument for the establishment of a proper gallery. I learned to catalogue the artworks correctly by reading Dorothy Dudley’s book on museum registration (originally published in 1968 by the American Association of Museums and still in print today), which advised having an “A” collection of artworks that you wanted to show to the public and a “B” collection that would be composed of minor works for study purposes only.3 I created a fair-sized “B” collection that built up the numbers. The fortunate discovery of the Thomson painting hanging in an unfortunate location in the Johnston Hall foyer gave me a good excuse to call on President W.C. Winegard to argue my case. He was receptive to the idea and we began a long journey to find a suitable proper gallery for the collection and temporary exhibitions. Winegard, being a University of Toronto graduate, was very familiar with the importance of the Hart House Collection of Group of Seven paintings and saw the merit of making University of Guelph masterworks accessible to the community. UNIVERSITY

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Later, Winegard became a significant collector of early-twentieth-century Canadian art and he donated a number of paintings to the collection. I worked with various presidents to select artworks for the President’s House, giving me a perfect opportunity to present the case for the creation of a permanent art gallery.

GALLERY IN THE MCLAUGHLIN LIBRARY

In 1970, the research of Nathan Stolow, a scientist at the Canadian Conservation Institute, indicated that ultraviolet waves in sunlight and in fluorescent lights, together with intense and continuous light levels, would cause paper to fade and the surfaces of oil paintings to deteriorate. New museum light level standards were established; this was the ammunition I needed. I approached Winegard with my concerns and we looked at possible campus buildings that could be renovated. The first buildings that we considered, Raithby House and Trent Building, proved to be too small. Around the same time, MacKinnon felt I should meet chief librarian Florence Partridge, who he knew had an interest in art. MacKinnon arranged a lunch at the faculty club that was located in Johnston Hall. I had the impression that Partridge was rather prim and conservative. MacKinnon asked if we would like to have a sherry before lunch. I said yes and Partridge said she would have “scotch on the rocks.” I knew I had just met a kindred soul. We moved the gallery to the main floor of the university library in 1970, where it remained until the Macdonald Stewart Art Centre was opened in 1980. Locating the exhibition program first in the MacKinnon Building and then in the McLaughlin Library (later renamed the University of Guelph Library) produced an enormous audience, which was very persuasive when applying for Canada Council for the Arts and Ontario Arts Council programming grants. Winegard appointed an advisory committee on art acquisitions as a resource for the curator of art. MacKinnon chaired the committee, whose role was to advise on the suitability of acquisitions and commissions, and on a plan for locating outdoor sculpture. The objective was to build a collection representing over 300 years of Canadian art, from the earliest topographical artists to contemporary work. Acquisitions through purchases and donations were made to keep abreast of current developments and to fill in gaps. Beginning in 1969 the University of Guelph alumni, through the Alma Mater Fund, provided acquisition funds that the province matched through the lotteryfunded Wintario program. Purchases and gifts resulted in as many as sixty new acquisitions annually. Two trust funds for purchasing art were also established. Agriculture professor Frederick N. Jerome provided funding to purchase works by 18

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young regional artists and Partridge created an endowed fund through which art would be acquired annually in consultation with student representatives from each of the colleges, in rotation. With a generous acquisitions budget, I attended Sotheby’s Canadian art auctions, held in the grand room at the top of the Simpsons building in Toronto, bidding successfully on important works, such as James Pattison Cockburn’s eighteenthcentury aquatint The Falls of Montmorency and William Napier’s 1857 view South Gate, Upper Fort Garry, Assiniboine River. Other key historical works were acquired by donation, including the View from Allan’s Bridge up the River Speed in Guelph by an unknown itinerant artist. Another donation was Robert Whale’s 1850s painting of Niagara Falls from the Upper Bank. This view may be his earliest of Niagara Falls, painted soon after his arrival in Canada in 1852. An unusual acquisition for the University Collection in 1971 comprised 140 British horse brasses (plate 2.3) collected between 1914 and 1920 by Guelph resident Dr Norman C. Wallace, while he was director-in-charge at a military hospital in Shorncliffe, England. These highly polished nineteenth-century cast brass or silver amulets were adornments to leather harnesses and were worn to represent the sun god, guardian of driven horses, to protect against evil, disease, and misfortune. Other brasses featured crescent moon, star, heart, and cross motifs and patriotic symbols of the rose, thistle, and shamrock. Images honouring trades include brewers, whose delivery wagons were pulled by teams of up to eight horses, embellished with jingling flyers, forehead and ear pieces, and a martingale holding as many as eleven brasses. Other themes are portraits of Queen Victoria, former British prime minister Benjamin Disraeli, famed circus elephant Jumbo, and Fred Archer, a popular jockey of the day. Today, the collection is on display at the ovc ’s Large Animal Clinic, together with a harness maker’s vise to symbolize the significance of the horse in the development of veterinary medical science.4 Without a proper gallery to show the collection, artworks were displayed in campus buildings in locations that were accessible to the public rather than being office decorations. To research contemporary art, I made the rounds of the commercial galleries to get to know the dealers. Jean-Paul Riopelle’s Voie Poupee was purchased for $5,000 from the Mira Godard Gallery in Toronto in 1978 and Jack Bush’s Blue Partita (1976) from the Waddington’s Auction House for $5,000 in 1977. Others were purchased directly from artists like Alex Colville, Ken Danby, Paul Fournier, and Lillian Freiman. Freiman was born in Guelph and later lived in Manhattan. I co-curated an exhibition of her work together with the Agnes Etherington Art Centre in Kingston, Ontario. Freiman felt she had been forgotten and, although she was in ill health, she was thrilled to see me when I visited her small studio/apartment. She took great UNIVERSITY

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2.3 Horse brass agricultural themes include a cockerel and a bugle 2.4 Opposite Michael Snow, Torso, 1963, canvas with polyester resin, enamel, and alkyd enamel

joy in her birds, which she kept in elaborate cages. We acquired three portraits by Freiman for the collection. Avrom Isaacs’s gallery on Yonge Street just north of Bloor, in Toronto, was a source of numerous acquisitions by artists Greg Curnoe, Joyce Wieland, Graham Coughtry, John MacGregor, and Michael Snow, whose Torso (plate 2.4) and Door are exemplary of the period. Isaacs later moved his gallery to John Street, around the corner from the Art Gallery of Ontario. One day he invited me for lunch. We went down the street to an upscale “white tablecloth” restaurant, ordered seafood, and shared a nice bottle of chardonnay. Without warning, I slapped Isaacs across his tie. He said, “What did you do that for?” I replied, “There was a cockroach on your tie.” We agreed to not say anything and enjoyed our meal. Later, after Isaacs had recovered from a heart attack, he became an avid road cyclist. Decked out in the latest gear, he would often ride in the Guelph/Elora area and would call in at the gallery. Isaacs also owned the Inuit Gallery on Prince Arthur Avenue in Toronto, where I made many purchases of drawings and sculptures for the collection. Isaacs also made significant art donations for the Guelph collection, including The Way It Was by Inuit artist Normee Ekoomiak (from Chisasibi, Quebec), which depicted the story of his own life, drawn on an entire roll of shelf paper that was given to the gallery in its original box. Little did I know, or even suspect, that Isaacs’s daughter, Renann, whom I first knew as a young rock musician with 20

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her own band, would become an art dealer in her own right in downtown Guelph under the name Renann Isaacs Contemporary Art. An important aspect of the cultural scene was the Guelph Spring Festival, founded in 1968 through the initiative of the College of Arts’ Dean MacKinnon, who hired artistic director Nicholas Goldschmidt, a force of nature in the arts.5 Goldschmidt felt it was essential that a classical music festival should have a significant art exhibition as part of the program. In 1969 we presented in the Arts Building corridor gallery an exhibition titled Religious Art of Quebec from the Collection of the Musée du Québec (plate 2.5), organized by its curator, Jean Trudel. The director of the Musée du Québec, Jean Soucy, wrote in the foreword to the catalogue: “as a matter of policy, the Quebec Museum only very rarely will loan works belonging to the earliest periods of French-Canadian art. However, the great frame of the Guelph Spring Festival prompted us to lift the usual restrictions.”6 We showed extraordinary examples of eighteenth-century life-sized gilded sculptures of saints, crucifixes, and tabernacle doors, as well as silver ciboria, chalices, monstrances, and censors by Quebec’s finest silversmiths. I am sure Trudel was astonished when he saw our facilities (fortunately the museum director, Soucy, did not attend the opening), but all went well. MacKinnon sponsored a reception UNIVERSITY

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2.5 Top Catalogue cover for Religious Art of Quebec exhibition, 1969; image: Anonymous, Saint Joseph, eighteenth century 2.6 Bottom Rodin: Bronzes exhibition at the McLaughlin Library, 1970

featuring decorated poached salmon that was served in the ninth floor Arts Building lounge overlooking the sheep barn and the bullring. The 1970 Guelph Spring Festival exhibition was Rodin and His Contemporaries from the Collection of Rothmans of Pall Mall Canada Limited (plate 2.6), featuring small bronzes. This was the first show held on the main floor of McLaughlin Library, the new home of the University of Guelph Art Gallery. The following year, an exhibition titled Contemporary French Tapestries, from the collection of Rothmans of Pall Mall Canada, featured magnificent, highly coloured surrealist tapestries. The tapestries looked splendid hung throughout the first floor of the library and on the new portable walls made for the occasion. Rothmans representative Alan Hanlon said he would make all the arrangements for an elegant opening reception of champagne and fancy canapés to be served on the main floor of the library. After the opening remarks by Winegard, much to my surprise and everyone else’s, “cigarette girls” suddenly arrived carrying trays with cigarettes and silver lighters. They were wearing stiletto heels, miniskirts, décolleté, and tiny caps, all in Rothmans’s corporate colours. For the 1971 Guelph Spring Festival, we showed Life Style of Our Forefathers: An Exhibition of Canadiana Furniture and Furnishings from 19th-Century Western Ontario on Loan from the Canadiana Department of the Royal Ontario Museum (plate 2.7). Goldschmidt arranged a meeting with the Royal Ontario Museum’s curator of the Canadiana Collection, Helen Ignatieff, who was his sister-in-law. Ignatieff contravened the Canadiana Department’s non-loan policy by lending signature pieces. We showed 109 objects, including loans from local collectors, wonderful examples of furniture from grandfather clocks to footstools, paintings, maps, treen (painted tin), pottery, glass, and splendid overshot coverlets that were hung like paintings. This was a remarkable opportunity for the public to see such a broad range of decorative arts from our region. I admired Joyce Wieland’s work, so in 1972 I approached her dealer, Isaacs. He asked, “Why should I give you a Wieland exhibition?” I said, “If Torontonians can see her work, then Guelphites should have every right to see it too!” He let me have the exhibition and it was installed in the library. Many of her famous works were included: the bronze The Spirit of Canada Suckles the French and English Beavers (it caused a stir), the “quilts” Reason over Passion/La raison avant la passion and Confedspread, and Wieland’s specially blended perfume, called Sweet Beaver, made to smell like the “Canadian wilderness.” Also included was the embroidery on linen Montcalm’s Last Letter/Wolf ’s Last Letter. The exhibition was titled An Independent Canadian Art Show.

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2.7 Catalogue cover for Life Style of Our Forefathers exhibition, 1971; image: Paul Kane, Portrait of John Richardson, tall case clock, 1850 2.8 Opposite Joyce Wieland, Power Woman with Man, 1991, watercolour on paper

Unfortunately, Wieland was unwell and missed the splendid pre-opening dinner of lamb chops with caper sauce and crêpes Suzette, served in the elegant woodpanelled faculty club. Wieland kept in touch with the gallery over the years, on one occasion requesting assistance to locate a local mansion as a site for her film The Far Shore, about Tom Thomson. Later in 1990, she submitted a design for the gallery’s third sculpture park commission call. Wieland proposed a three-and-a-halfmetre-long topiary garden of flowers on a raised berm depicting “Power Woman,” her alter ego inspired by Wonder Woman (plate 2.8). Her proposal was unfortunately declined, as it was deemed too fragile for an unprotected site and too high in maintenance costs. As a result, the commission was given to Edmonton artist Catherine Burgess for her bronze titled Things as They Are: Guelph, September 27, 1990. After Wieland’s death, Kathy Dain and other of her close friends donated works to the gallery that they had received as bequests. Among these were images of Wieland’s “Power Woman.” In 1973, MacKinnon made arrangements for me to be a British Council– sponsored visitor to Britain. I proposed a study on how museums tour exhibitions. The Council arranged for a two-month tour of leading public galleries in England, Wales, and Scotland. In each case, appointments were made with directors and curators, with hotels booked by the Council representative assigned to look after me. 24

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Included, which is hard to believe today, were tickets to West End theatres, prestigious music concerts, afternoon teas, and even a one-week vacation at a lovely bed and breakfast overlooking Lake Windermere. I spent three days in the British Museum Print and Drawing Study Room viewing etchings by the world’s greatest artists. At the Scottish National Portrait Gallery, my request to see calotypes by the pioneers of photography was immediately granted. In a brilliantly sunlit room, I was given a pair of white gloves and a box of unmatted 1840s calotype portraits of Leith fishers and their families, taken by by David Octavius Hill and Robert Adamson. I looked through them at my leisure. The British Council at that time was well funded and felt that its patronizing duty was to civilize the colonials, a practice from which I thoroughly benefitted. One result of the trip was a contract with the Welsh Arts Council that led to our borrowing their photography exhibition Coalface 1900 (plate 2.9). The images were grim, documenting conditions in Welsh coal mines and towns. I witnessed a contemporary version of these circumstances while travelling in these areas. Huge coal tips abutted the sides of people’s houses and spilled onto their front gardens in a very dusty environment. I arranged to bring the show to Guelph and then later sent it on a tour for showings in coal mining towns in Nova Scotia, Virginia, West Virginia, and Tennessee. My interest in photography led to making contact with the pioneer New York photography dealer Lee Witkin, whose gallery was located on 243 East 60th Street. He said, “Come down and select a show.” My husband, David, and I drove to New UNIVERSITY

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2.9 Catalogue cover for Coalface 1900 exhibition, 1973; image: William Jones, Child, 1910, lanternslide

York and arrived at the gallery at noon the next day. Witkin said, “I’m heading out for a while, just look around and pick out what you would like. There are twenty thousand photographs.” I selected many of what are now considered iconic images in the history of photography. The 1970 exhibition titled Photography from 1845 to 1970 (plate 2.10) featured images by forty-five photographers, including Berenice Abbott, Ansel Adams, Margaret Bourke-White, Brassaï, Harry Callahan, Imogen Cunningham, Robert Doisneau, Frederick Evans, Walker Evans, Judy Dater, David Octavius Hill, Eadweard Muybridge, Edward Steichen, Alfred Stieglitz, Paul Strand, Edward Weston, and Garry Winogrand. Perhaps the most recognizable image in the exhibition was Dorothea Lange’s The Migrant Mother. We packed the photographs into a rented station wagon and drove back to Guelph. It was a pivotal exhibition at a time when photography was becoming recognized critically as one of the most significant art media since the mid-nineteenth century. For perspective, Ansel Adams’s photographs, insured for the exhibition in Guelph for $250, were sold at Christie’s 2016 auction for $550,000 (usd ). Similarly, Edward Steichen’s works, insured for $75 in 1970, sold at Christie’s for $400,000 26

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(usd ) in 2016. Dealers now sell Edward Weston’s photographs for $100,000 to $400,000 (usd ) a piece. I knew that there was an opportunity to buy the entire show of forty-five photographs for the university art collection for $10,000 (usd ). I proposed the idea to the art acquisition advisory committee but, despite a good hour of persuasive argument, I could not convince them that photography was art and that we should deviate from our mandate of collecting Canadian works to establish a small specialization in the collection. So, these amazing images were packed up and returned in the back of a station wagon to the Witkin Gallery. Lee Witkin was a giant in the field and his untimely death in 1984 robbed the art world of its first commercially successful photography dealer.7 In 1973, fine art department chair Eric Cameron curated Video Circuits, one of the first shows of video art held in Canada. It focused on the work of established artists, as well as Guelph faculty and students, to show what was happening in video at that time. Cameron and artist Noel Harding had been teaching video art

2.10 Photography from 1845 to 1970 exhibition at the McLaughlin Library, 1970

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since 1970. Video art by students from Guelph, the Nova Scotia College of Art and Design (now nscad University), and the California College of Arts and Crafts (now the California College of the Arts) were included. Leading New York artists – Vito Acconci, Peter Campus, Dan Graham, and Dennis Oppenheim among them – personally submitted tapes for the exhibition. Two years later, Cameron curated a comprehensive exhibition, Narrative in Contemporary Art (plate 2.11), featuring photo-based text works and video stills by fifty international artists. We borrowed from leading New York dealers Sonnabend, John Gibson, and Paula Cooper, and directly from artists. Among those artists shown were Laurie Anderson, John Baldessari, Christian Boltanski, Greg Curnoe, Gilbert and George, Annette Messager, Joyce Wieland, and Lawrence Weiner. Also included were Noel Harding’s video installation Rebecca and Nigel Come to Visit and Robert Welch’s mesmerizing film/video Niagara Falls: Roger Welch, about the boy who survived a fall over Niagara Falls wearing only a life jacket. In 1975, Eric Cameron, Noel Harding, and others founded Ed Video Media Arts Centre in Guelph as a video resource centre to provide access to equipment and serve as a catalyst for creative activity in the community. Ed Video is recognized internationally and continues to be instrumental in developing video and media arts in the Guelph area. The gallery did not have enough funds to ship the works back to New York, so I rented a large Pontiac station wagon in early December. With my husband’s help, I loaded it with the artworks and we set off for New York City at 4 a.m. After a tenhour drive, we were able to make a delivery to the Paula Cooper Gallery. On departure from the gallery, the tailgate window of the station wagon suddenly jammed open and, to complicate the situation, it began to snow. We quickly checked into our seedy Holiday Inn on West 57th Street and descended down through eight levels of underground parking. On the lowest level, we parked in the darkest corner and jammed the rear bumper against the back wall. No one was the wiser that thousands of dollars of New York contemporary art were within arm’s reach. The next day, we began delivering to various artist studios, including one in an alley off Canal Street in the Bowery. We pulled up to the curb and encountered three drunks who erupted into a serious fistfight beside our vehicle. The entire street consisted of nineteenthcentury warehouses with massive sliding metal doors. While guarding the vehicle we found the address and began banging on the huge metal door, without success. Finally, we roused the artist by throwing stones at an upper window. After completing all of our deliveries, the tailgate window of the station wagon mysteriously repaired itself. We decided to stay in New York for the weekend to visit museums and found a parking facility in a converted nineteenth-century commercial building. We entered 28

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2.11 Catalogue cover for Narrative in Contemporary Art; image: Bill Beckley, Study, 1975, ink on blackand-white photograph

through a narrow doorway onto a freight elevator that took cars to the upper levels. The attendant took our keys and asked how long we were staying. We said three days. On returning to our vehicle on Monday, we found it filthy with cigarette butts, fast food containers, chicken bones, and liquor bottles. Someone had been living in our car! We complained profusely to the attendant, who had already received his money for renting out our vehicle for the weekend. He said, “no charge,” and after a thorough cleaning, we drove back to Guelph. The 1975 Guelph Spring Festival exhibition was called Canada in the Victorian Image, 1837–1887, featuring 170 art objects consisting of landscapes, portraits, topographical views, photographs, sculpture, furniture, textiles, porcelain, stoneware, glass, metal work, jewellery, scent bottles, small boxes, toys, miniatures, dolls, and games, as well as delightful miscellany including hair wreaths, a violin zither, two sailors’ beaded valentines in a hinged case, and signed letters from Queen Victoria. All were borrowed from local collectors and museums.8 UNIVERSITY

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A highlight was the first showing of David Johnston Kennedy’s Sketch of Part of the Town of Guelph, Canada West, created in watercolour between 1845 and 1864, which had been acquired through the Alma Mater Fund in 1972. The artwork depicted the Priory, Guelph’s first house established by John Galt for the Canada Company (originally built on the current site of the River Run Performing Arts Centre), Allan’s Mill, the jail, the courthouse, and a Grand Trunk Railway train going over the newly built railway bridge.9 I purchased a group of watercolours directly off the walls of “Sunnyside,” David Johnston Kennedy’s father’s home on the banks of the Speed River, located across from the original site of the Priory. This exhibition accompanied a University of Guelph symposium sponsored by the Macdonald Stewart Foundation of Montreal. John Julius Norwich, an English popular historian, gave the keynote address and David Macdonald Stewart, president of the foundation, spoke on Canadian decorative arts. Stewart had not visited Guelph before, but he was very interested in preserving the Macdonald Consolidated School, located at the intersection of College Avenue and Gordon Street, adjacent to the campus. The school had been funded in 1904 by the Macdonald Tobacco Company (predecessor of the foundation) as a model school for Ontario. After touring the school, we proposed to Stewart that the building would make an ideal public gallery to serve the campus and the community, as we had no proper place to show the growing university collection and our ambitious temporary exhibition program. The 1975 symposium laid the groundwork for Stewart’s decision the following year to provide a grant for the renovation of the historic school to become the Macdonald Stewart Art Centre, which opened to the public in 1980. Although it was not possible to have school tours on the main floor of the University Library where the gallery was located, we were committed to developing educational opportunities for elementary school students. In 1975, education coordinator Lynn Barbeau worked with Wellington County School Board art consultant Corbett Gray to launch Art Wheels, a joint project of the board and the gallery. Art Wheels was a large van outfitted to serve as a gallery. A variety of shows, from Chinese scrolls, prints from the collection, and student art, toured to distant county schools, initiating an interest in art and design among many young children who would not have had an opportunity to visit a public gallery. We also parked Art Wheels in the centre of the campus on route to the food court, ensuring a good audience of drop-ins. Since the City of Guelph’s 1977 sesquicentennial was approaching, I decided to curate an exhibition on the history of Guelph artists. My research led me to a footnote on page 182 of Dennis Reid’s book A Concise History of Canadian Painting. It read, “Rolph Scarlett, born in Guelph, had sixty paintings purchased by the Gug30

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genheim Museum in the 1930s and 1940s.”10 I had never heard of Scarlett and immediately called the curator at the Guggenheim. She said that she knew Scarlett and that he had retired in Shady, near Woodstock, New York. I called the artist in the spring of 1976 and he said, “Come down and visit me.” I flew to an airport close to Woodstock and took the bus. When we were on the outskirts of the town, a woman sitting in front of me was upset that her seatmate was smoking. She asked her to stop and the woman refused. Suddenly the non-smoker stood up and punched the smoker in the face. Passengers tried to intervene, unsuccessfully, and then the driver pulled over and took them both off the bus. The passengers managed to separate the women, who were now standing on the side of the road. We had to wait until the police arrived to investigate. The perpetrator was taken away and we proceeded on to Woodstock. I knew Woodstock was famous for the Woodstock Music Festival that took place on a farm near Bethel in 1969 but I did not expect such an unusual introduction to the town’s folk. Scarlett, a wheelchair user, lived with his wife, Emily, in a very modest cottage with a sun porch. I stayed with Gladys, one of his students, as there was no room in Scarlett’s home for a visitor. Dinner arrived by volunteers through Meals on Wheels, a meal delivery service. I spent many hours interviewing the artist in his living room. I admired the modernist sofa and table. He said, “I designed them.” There was also a wonderful etching by John Sloan and he said, “I knew Sloan.” Scarlett was then eighty-five years old and he unravelled his entire history working at the Guggenheim Museum as a painter, theatre and industrial designer, and jeweller. His jewellery bench occupied a small alcove with intriguing bits and pieces within an arm’s reach. Scarlett’s paintings, representing a seventy-five-year career, were stored in his unheated garage and a barn loft nearby. At that time, he was occupied with making jewellery. He inspired me to curate an exhibition titled Visitors, Exiles, and Residents, which began with an 1830 sketch (possibly by John Galt) of the Guelph marketplace and Priory, and included artists practising up to the 1970s. The exhibition featured eleven paintings by Scarlett, dating from 1939 to the 1950s. The Guggenheim Museum lent four paintings and the rest were borrowed from the artist. Scarlett, his wife, Emily, and an entourage from Woodstock arrived for the opening reception, all wearing his oversized pendants, bracelets, and two-finger rings: what a spectacle! For Scarlett, it was a triumphant homecoming, and he was royally welcomed by the community and by the local press.11 The artist donated sixty works to the university collection, and I kept in touch with him until his death in 1984 at age ninety-five. I was the only professional curator paying attention to Scarlett at the time. One day he said, “Judith, someday you will write a book about me.” I did not know what UNIVERSITY

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2.12 Top Rolph Scarlett, Intermezzo, 1945, oil on canvas 2.13 Bottom Rolph Scarlett, Ring, 1976, silver with turquoise, citrine, and synthetic stone 2.14 Opposite Richard Bedwash (Anishnaabe), The Sturgeon, 1977, acrylic on paper

to say at the time. Except that I did eventually write a book on Scarlett, which was published in 2004 by McGill-Queen’s University Press. The book, Rolph Scarlett: Painter, Designer, Jeweller, followed a major touring exhibition of his paintings, designs, and sculptural jewellery, which opened at the Embassy of Canada Art Gallery in Washington in 1997 and was later shown in Guelph, at the Embassy of Canada Prince Takamado Gallery in Tokyo, and at the Montreal Museum of Fine Arts. At the time, Scarlett was not well known in Canada. The exhibition and publication helped bring Scarlett to the attention of the Canadian art world. In 1977, a social worker asked me to visit an Anishinaabe artist, Richard Bedwash, who was in the Guelph jail. I arrived at the old nineteenth-century stone building and was escorted into Bedwash’s cell. He showed me some beautiful drawings that he had made on scraps of paper showing animal imagery in a style similar to Norval Morrisseau (also Anishinaabe), who grew up in Bingwi Neyaashi Anishinaabek (Sand Point First Nation). Bedwash, who is from Long Lake #58 First Nation, studied with Morrisseau during 1966 to 1968. Bedwash asked me to provide him with Canson drawing paper and acrylic paints, so he could paint larger images. I was so impressed with his drawings I gave him a commission for the collection. He produced nineteen stunning images. I interviewed Bedwash about the meaning of each painting, like The Sturgeon (plate 2.14), resulting in a series titled Ojibwa Legend Paintings. Each

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image was mounted with the text of the legend below. Later, Bedwash had success in the US selling works to a casino in Michigan before his death in 2007. These works expanded our First Nations holdings beyond the acquisition of Morrisseau’s Night Rider (plate 2.15), a large painting he made on industrial brown kraft paper. I purchased the painting from Morrisseau’s 1975 exhibition at the Jack Pollock Gallery in Toronto. Pollock was a cause célèbre among dealers. He wrote a risqué autobiography titled Dear M: Letters from a Gentleman of Excess, addressed anonymously to his psychiatrist, who many thought lived in Guelph.

2.15 Norval Morrisseau (Anishnaabe), Night Rider, 1975, acrylic on craft paper

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CHAPTER 3

Macdonald Stewart Art Centre (1980–2014) M A C D O N A L D C O N S O L I D AT E D S C H O O L ( 1 9 0 4 – 1 9 8 0 )

In 1979, the Macdonald Consolidated School building was renovated to become the Macdonald Stewart Art Centre (msac ). The school once served as a model for an advanced educational movement at the turn of the twentieth century. In the early 1900s, farm families were concerned about the “rural school problem.” Curriculum was based on literature and classical studies, subjects that were not useful for the future farmer in an era of increased mechanization and expanding markets. The teachers were poorly trained, textbooks out of date, and the “little red schoolhouses” were poorly heated and in deteriorating conditions. Farmers demanded that their children have the same opportunity as children attending urban schools. The most successful solution was an initiative to consolidate two to five schools into one larger new school that had central heating, indoor lavatories, science labs, and a gymnasium/auditorium suitable for theatrical productions. In 1902, Montreal tobacco manufacturer Sir William Macdonald (plate 3.1) sponsored what came to be known as the “Macdonald Movement” by funding the construction of model consolidated schools for New Brunswick, Nova Scotia, Prince Edward Island, and Ontario. Ontario’s school, known as Macdonald Consolidated School (plate 3.2), was built in Guelph adjunct to the oac . School trustees hired qualified teachers and arranged for students to be transported by horse-drawn vans. The new curriculum focused on a scientific study of agriculture and the domestic sciences, manual training, and lessons in watercolour painting and music. A unique feature of the curriculum was assigning students to manage their own garden plots to learn principles of seed selection, crop rotation, and control of weeds and insects. One 1905 report described the student garden program as a means to “cultivate the sense of ownership and a social spirit of co-operation and mutual respect for one another’s rights.”1 Unfortunately, Macdonald provided the Guelph trustees with inadequate funding to embellish the building, resulting in a plain building with a simple factory-like roof over the main entrance.

3.1 Sir William Macdonald 3.2 Below Macdonald Consolidated School as it looked when built in 1904 3.3 Opposite Students tending their individual garden plots as part of their nature studies course, circa 1900s

The trustees planned an official opening ceremony that they anticipated would be a splendid occasion acknowledging their good work and Sir William’s generosity. Sir William, even though he was president of the Macdonald Tobacco Company, was a non-smoker and a prominent philanthropist in the health and education fields. In November 1904, he travelled by train from Montreal to officiate at the 36

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school’s opening ceremony. He proceeded up the Gordon Street hill in his horsedrawn carriage. Reportedly, he took one look at the building and was enraged to see its common factory-like porch, refusing to get out of the carriage. He turned around and drove back to the train station, never to return to Guelph again. He blamed the trustees for the building’s lack of decorative flourishes. A few years later, the trustees fundraised to embellish the façade with a Doric-columned porch and to have the school’s name proudly inscribed across the entablature. In addition to classrooms, the school featured a chemistry and nature studies laboratory, domestic science and manual training rooms, an auditorium, garden plots (plate 3.3), and indoor lavatories. Music, drawing, and watercolour painting were included in the curriculum. Despite its innovative curriculum, the venture into consolidation was only partly successful. At the end of 1907, costs were one-third above those of the old system. The project in Guelph was then abandoned and the school was absorbed into the Guelph Township School Board. Although the school served its community in good stead over many years, by the 1970s the building required extensive renovations to meet modern building codes, leading to an opportunity to both preserve the structure and give it a new purpose as a public art gallery. In 1977, a capital campaign was launched under the leadership of co-chairs Neil Darroch and Kenneth Hammill to renovate the school to become the msac . David Macdonald Stewart’s interest in preserving the school through a grant from the foundation made the dream of a public gallery in Guelph achievable. The history of the school was of great interest to the foundation and to those who had attended as elementary students. Later, the history of the school was an important stimulus MACDONALD

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3.4 Macdonald Consolidated School as it looked prior to renovation

for many artists who were given sculpture park commissions. The campaign not only raised the required amount of $1.8 million for the renovation, including government and private resources, it had a surplus of $200,000 that helped create an art purchase fund for the msac to begin its own collection.2

THE MACDONALD STEWART COMMUNITY ART CENTRE ACT

In November 1978 the msac was established through a private member’s bill (Bill Pr 9) introduced to the provincial legislature by mpp Harry Worton. The bill addressed two challenges: one, that it was necessary to make a minor adjustment in the existing property line between the university and the school board, and two, that the original gift from Sir William Macdonald designated that the property could only be used for educational purposes. Curiously, there was no legislation in Ontario in 1978 that legally determined that a public art gallery met the qualification as an educational institution. The private member’s bill accomplished the land transfer and affirmed that a public art gallery’s mission is indeed educational. There were four original sponsors of the msac : the University of Guelph, the City of Guelph, Wellington County, and the Wellington County Board of Education (now the Upper Grand District School Board). The fact that four public bodies came together to establish a new cultural institution is in itself unique, and it very likely set a precedent in North America. University of Guelph president Donald F. Forster played an important role in encouraging these successful negotiations. The msac was to be governed by a board of fifteen trustees: three members named by each of the four sponsors and the remaining three elected by the membership. A senior university official would serve as chair of the board of trustees 38

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and the chair of the university fine art department would serve as secretary, a nonvoting position. The reason for maintaining an arm’s length relationship with the gallery was to ensure that interdisciplinary programming could arise in an open and willing way. The board of trustees met prior to the renovation of Macdonald Consolidated School for the purpose of establishing the aims and objectives; the financial, programming, and acquisition policies; and strategic directions; and to confirm that msac employees would be University of Guelph employees with human resources benefits. These policies were approved by the four sponsors and have changed little since. Strategic objectives have evolved as needed in response to opportunities for growth. From the beginning the university viewed the msac as the flagship of “town and gown relations.” It was decided that the director’s responsibility would be to hire staff and to develop and maintain aesthetic standards by working with gallery staff and any outside advisors as required to implement the programming and acquisition objectives. The director would report at each board meeting on the museum activities and acquisitions. Major acquisitions would be pre-authorized by the board. The four sponsoring bodies and government granting agencies would receive the msac annual report. In turn, each of the sponsors would also have a responsibility for the annual operation of the gallery. The university provided professional and program support staff and made its thousand-piece art collection available as a resource for the gallery. As the University of Guelph curator of art, I was cross-appointed to be the director of msac . Later my title changed to director and curator to affirm both the administrative and artistic responsibilities of the position. The city provided for the cost of utilities, maintenance, and housekeeping services and the county gave an annual grant. The school board agreed to transfer the building and land to the msac on a long-term, renewable lease at a nominal rent. The board of trustees appointed a building committee, hired an architect, approved the architectural plans, and confirmed supervision of the renovation by the university’s department of physical resources. Architect Raymond Moriyama transformed the out-of-date school into a gallery to meet international standards. Moriyama’s design (plate 3.5) enhanced the neoclassical character of the building by elongating it with the addition of two wings, for a total area of 31,000 square feet. The façade, with its Greek-revival porch, was restored and the original roofline maintained to respect the 1904 design. A three-storey gallery (plate 3.6) is the focal point of the building’s interior. Five galleries look into this well. There is a lecture room and gallery shop/art rental service MACDONALD

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3.5 Top Architect Raymond Moriyama’s design for the Macdonald Stewart Art Centre 3.6 Below Interior view showing three-storey gallery

3.7 Ontario premier Bill Davis (left) and David Macdonald Stewart present the building plaque to director Judith Nasby at the official opening of the Macdonald Stewart Art Centre, 8 November 1980

and the lower level provides for collections care and exhibition preparation. The original Macdonald Consolidated School sign that graced the porch was preserved and is stored in the gallery’s vaults. The spacious grounds that once attracted thousands to see the experimental garden plots became the site of a future sculpture park. Over 900 people came to the opening reception on 8 November 1980, so many that the building alarms began shrieking and guests spilled out onto the porch and stairs. Premier William Davis and David Macdonald Stewart officially opened the building (plate 3.7), with additional remarks by representatives of each sponsoring body: University of Guelph president Donald F. Forster, City of Guelph mayor Norman Jary, Wellington County School Board chair Frederick Hamilton, and Wellington County warden Archie MacRobbie. A 410-page complete catalogue of the university’s art collection was launched the same evening (plate 3.8), but no one seemed to notice: they were so elated to finally have a proper art gallery. The inaugural exhibition, titled Highlights from the MACDONALD

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University Art Collection, filled all seven galleries and featured artworks from the eighteenth and nineteenth centuries to master works by the Group of Seven and other contemporary artists. Tom Thomson’s The Drive and Suzor-Coté’s The Old Willow were given pride of place in the exhibition. It was a tribute to the collecting initiatives of the founding colleges and the University of Guelph Art Gallery, which ceased to exist with the launch of the msac . Cataloguing and photographing the artworks and researching the artist biographies were lengthy processes leading to the University of Guelph art collection publication in 1980. Numerous staff members contributed over the years, including Lynn Barbeau, Rob Freeman, Heather Hatch, and Julia Wallace. Freeman later became director of Gallery Stratford and then director of the Art Gallery of Mississauga, Hatch became an art consultant based in New York, and Wallace became an art teacher based in Victoria, bc . A few days before the opening ceremony, David Macdonald Stewart called me to ask that we have a small pre-reception in the gallery’s third floor meeting room. He asked that I provide something suitable for a toast. We decided on Henkell

3.8 Group of Seven artist A.J. Casson and his wife, Margaret, look through the University of Guelph Art Collection catalogue on a visit to the Macdonald Stewart Art Centre, 1981

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Trocken because we did not want to appear too extravagant, since he was the major funder. When Stewart and his wife, Liliane, arrived, he told the story of why he decided to provide the grant for the capital campaign. He said that their beloved cat Tadja had an illness that their veterinarian in Montreal was not able to cure, so they brought the ailing feline for treatment at the ovc in Guelph. Tadja was successfully cured and lived a few more years. To acknowledge this event, Stewart presented the msac with a portrait of Tadja, which we hung proudly in the office as reminder of the fortunate turn of events that led to the completion of construction and official opening of the gallery. Following the opening, the Stewarts invited me to Montreal for a weekend. We met at his office at the Macdonald Stewart Foundation, located in a historic building on Sherbrooke Street. The office contained historical objects and personal mementos, including his pilot’s chair, representing his multifaceted interests and charitable causes. On Sunday morning, we enjoyed brunch at the Bonaventure Hotel, complete with a tenor singing Ave Maria near our table. We then attended mass at NotreDame and drove to see many of Montreal’s grand buildings that the Stewarts held in such high esteem. The Stewarts maintained a relationship with the msac through their special interest in our collecting and publications. They were particularly interested in Scarlett’s design career and his jewellery. In the 1970s, while I was researching Scarlett’s work, the Montreal Museum of Decorative Arts (now part of the Montreal Museum of Fine Arts) had received a gift of over 600 beautifully executed industrial design drawings by Scarlett in his streamline modern style, dating from the mid-1930s. The Stewarts were major funders of the Montreal Museum of Decorative Arts, and this joint interest led to the msac ’s Scarlett exhibition that opened at the Embassy of Canada Art Gallery in Washington. The Stewarts’ appreciation for twentieth century design resulted in the creation of an internationally recognized collection at the Montreal Museum of Fine Arts. With David Macdonald Stewart’s untimely passing in 1984, the msac trustees named Liliane Stewart honorary chair of the board, and she continued their shared vision. In 1983, I received a call from Elizabeth Gordon, wife of federal finance minister Walter Gordon. The minister, along with Prime Minister Pierre Elliott Trudeau, was attending a conference at the university.3 She said she and her husband would like to see the new gallery, and would I meet with them the next morning at 7:30 a.m. Elizabeth arrived and said that the minister was engaged with the prime minister and was unable to join her. I gave her a tour of the building and described our vision for the collection. The following week, a $15,000 cheque from Elizabeth Gordon arrived in the mail and was designated for art purchases. Over the years, she MACDONALD

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provided matching art purchase funds through her family foundation, a practice that was continued after her death by her daughter Kyra. Herbert S. Armstrong, dean of graduate studies and research, was a heraldry enthusiast and shared the Stewarts’ interest in history. Armstrong was determined to succeed with an application to the Lord Lyon of Scotland to gain approval for a coat of arms for the msac . After much toing and froing on alterations to the final design, the armorial bearings for the msac were awarded in 1984 (plate 3.9 and Appendix I). Armstrong and his wife, Kay, donated numerous works to the gallery, including a watercolour titled Six Nations by Alex Janvier (Dene Suline, Cold Lake First Nations) in 1963.

E X H I B I T I O N A N D E D U C AT I O N A L P R O G R A M M I N G

The gallery’s exhibition mandate is to present a balanced program of contemporary and historical Canadian, Indigenous, and international art and the education mandate is to serve the public, of all ages, with programming aimed at varying levels. In 1980, with the continuing support of funding from the Canada Council for the Arts and the Ontario Arts Council, the msac launched an ambitious program of exhibitions, with some touring nationally and internationally. msac staff curated 80 per cent of the exhibitions, with contributions from guest curators and external writers. Shortly after moving into the newly renovated building we greatly expanded our community programing. Education coordinator Lynn Barbeau (plate 3.10) organized a dedicated group of volunteer docents. Over the years, many were retired high school teachers, like Dale Ellis and Julia Kenalty. Others, like Phyllis Mattar, Dorothy Frank, and Nancy Bligh, came from various backgrounds, bringing a diversity of approaches. Barbeau created Hostile Beauty, an Inuit art and culture tour for grade 5 students, incorporating works from the collection and photographs of high Arctic flora and fauna taken by University of Guelph biologists. Students were bussed from throughout Wellington County to participate in this program. We often asked the students from the north end of the county what they enjoyed the most about their visit to the gallery. Surprisingly, many said “the elevator,” since they had never been in one before! We received a special project-funding grant in 1978 from the Ontario Arts Council to involve the university community in the art acquisition process. We launched the Great Aggie Art Vote, inviting oac students, faculty, and staff to vote for one of four choices to be purchased through the Partridge Fund for the university collection. Two choices were abstract, one was semi-abstract, and the fourth was realist. 44

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3.9 Macdonald Stewart Art Centre armorial bearings

3.10 Education coordinator Lynn Barbeau with a whalebone carving by Igloolik artist Jonah Augotoutok, 1980 3.11 Below Macdonald Stewart Art Centre school tours brochure, 1983

Although we attempted to promote abstraction with the “Aggies,” we predicted correctly that realism would win the day. They choose a dramatic seascape by Ron Bolt titled Wave Image No. 30: Tropic. Lynn Barbeau was also an accomplished curator. She co-curated with Megan Bice an imaginative exhibition called Visual Bestiary: Animals in Art, featuring Indigenous, European, and Canadian works to challenge young viewers. She curated shows by regional artists such as David H. Kaye, Mark Grenville, Heather Daymond, and Bruce St Clair. Another was Ribbons, comprising the sculpture and drawings of Armand Buzbuzian, a University of Guelph fine art graduate who was known for his large painted folded steel sculptures. He passed away in 1977 at age twenty-seven. Barbeau expanded our lecture series into a very popular evening program, titled “Art for Amateurs and Connoisseurs,” co-presented by gallery staff and fine art professor Chandler Kirwin. Speakers included bookbinder Scott Arnold and antique dealers Henry and Barbara Dobson, who brought a wide array of artworks and antiques for discussion with the audience. In the late 1980s Barbeau, who was passionate about sailing, persuaded her father to make her a catboat (a boat with one sail) to sail on Guelph Lake. Shortly after, she visited a friend in upper Michigan, where she sailed and met a fishing guide, whom she married. His sister was a champion log roller. Barbeau embarked on a new career as an event manager of lumberjack competitions, until her untimely passing in her early fifties. In 1982, we organized our first nationally touring exhibition, Bridges: A Collaboration between Painter Paul Fournier and Composer Robert Daigneault. Daigneault’s piano composition was played by Valerie Nichol at the msac opening of Fournier’s abstract paintings, many inspired by his first encounter with the vibrant colours and sea creatures found in Florida’s tropical waters. We acquired what is still today our largest painting – Fournier’s five-metre-long Odyssey, evocative of amoebas floating in infinite space. Ingrid Jenkner joined the gallery in 1981 and one of her first projects was to curate a nationally touring exhibition of K.M. Graham’s paintings and drawings. Graham spent part of her youth living in Guelph and began her distinguished career at age forty-nine with the encouragement of Jack Bush and Paul Fournier. She made her first trip to Kinngait (Cape Dorset) in 1971. This experience resulted in an extensive Arctic series, including Dorset Fantasy (plate 3.12), which was purchased for the collection. Jenkner curated the Stewart and Letty Bennett Collection that was placed on long-term loan to the university in 1984 by the Ontario Heritage Foundation. This MACDONALD

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3.12 Top K.M. Graham, Dorset Fantasy, 1984, acrylic on canvas 3.13 Bottom Tom Thomson, The Alligator, Algonquin Park, 1916, oil on composite wood-pulp board

3.14 Andreas Drenters, Pioneer Family (detail), 1988, steel and copper

important loan greatly expanded our Group of Seven holdings and included an unusual painting by Tom Thomson, titled The Alligator, Algonquin Park (plate 3.13). The painting depicts an early twentieth-century “snowmobile-like” machine invented in Canada for moving logs. Memorable shows curated by Jenkner were Jan Peacock’s installation titled Nuit Blanches and Site Memory: Contemporary Art from Canada, which was shown in Guelph and at the Cleveland Center for Contemporary Art. Among the solo shows curated by Jenkner were Montreal artist Roland Poulin’s exhibition of sculpture that included a large work installed temporarily in the sculpture park, Cheryl Ruddock’s Girl Colours and Yosef Drenters: Images of the Madonna. For close to twenty-five years, Yosef Drenters made sculptures that prominently featured the theme of the Madonna and Child, as he had been trained to be a priest. He came to Canada from Belgium in 1951 and ten years later purchased the 1853 stone building that housed the old boys Academy in Rockwood, a village close to Guelph. Drenters painstakingly restored this historic building, now owned by the Ontario Heritage Foundation. The msac sculpture park features a one-quarterscale version of Drenters’s sculpture Pioneer Family, which he made for Expo 67. His brother Andreas, who was an assistant for the Expo 67 sculpture, reconstructed MACDONALD

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Yosef ’s piece for the msac in 1988. Guelph resident Ginty Jocius discovered the remains of the original sculpture in a wrecker’s yard, by happenstance, just before it would have been demolished. Later Jocius and his family sponsored the sculpture park commission. Other solo shows curated by Jenkner were Cheryl Ruddock’s Girl Colours and Arnaud Maggs: Numberworks. Later, Jenkner became director of the Art Gallery and Museums at Mount Saint Vincent University in Halifax. In 1991, Nancy Campbell joined the staff, and during her eight years at the gallery was responsible for curating many of our more innovative shows. Frankenstein: Exploration in Manipulation and Surrationality brought together works by Canadian and international artists who were commenting on dna manipulation of animals and the cloning of Dolly the sheep. Signature pieces included hybrid taxidermy animals by German artist Thomas Grünfeld. One was titled misfit (rabbit/swan, Nandu) and another misfit (cow/ostrich). The others were a lounging St Bernard with a sheep’s head, and a deer with a pony’s tail. Canadian artist Brian Scott contributed a Dadaist-inspired machine, the Travelling Library, that produced knowledge in the form of pancakes. The unique hardcover catalogue had an embossed velour cover with sumptuous burgundy watered silk end boards that our printer happened to have left over from a Portuguese-Canadian family’s wedding invitation. In 1995, Campbell curated a solo exhibition featuring nude self-portraits by Guelph-born artist Robert Flack. When Flack tested hiv positive, he began creating symbolic visualizations of the chakras superimposed on the body against swirling backgrounds. The Anatomical Garden (plate 3.15) is from this series of photographs. The exhibition catalogue was co-published by msac and the Eternal Cosmic Love Machine Collective at Cold City Gallery in Toronto. The book and accompanying compact disc, titled This Is True to Me, was written shortly before Flack died in 1993 of aids -related causes. Campbell and I attended his very moving memorial service in Toronto, where it was recalled that Flack was proud to have grown up around the corner from msac and had attended Macdonald Consolidated School until grade 6. David Rokeby, a world leader in artistic technological innovation, also spent part of his youth living in Guelph. In 1998, the msac presented the premiere of Rokeby’s The Giver of Names, an interactive system that responded verbally to objects presented to it. The installation analyzed the object, such as a teddy bear, and produced metaphoric sentences about it, inviting the viewer to reflect on the meaning of artificial intelligence. In 1998, Campbell curated Micah Lexier: Self-Portrait as a Proportion, which focused on issues of authorship, aging, life expectancy, and time. She also produced solo shows that featured the works of Sara Angelucci, Dianne Bos, Christine Davis, 50

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3.15 Robert Flack, Anatomical Garden, 1990–91, photograph

Stephen Livick, and Regan Morris. Campbell later became curator of special projects at the Art Gallery of Ontario and wrote publications on Kinngait (Cape Dorset) artists Shuvinai Ashoona and Annie Pootoogook. In 1995 the msac collaborated with the University of South Florida Art Museum to engage Catsou Roberts, an American freelance curator, to guest curate the exhibition Perfect Speed. The show featured six emerging artists from Great Britain: Fiona Banner, Jacqueline Donachie, Douglas Gordon, Graham Gussin, Stephanie Smith, and Sam Taylor-Wood, who had not shown in Canada before. Douglas Gordon’s 24 Hour Psycho was shown in the main gallery, consisting entirely of a massive projection of Alfred Hitchcock’s 1960 film Psycho. Gordon had slowed the film down to approximately two frames per second, extending its duration for a full twentyfour hours. A security guard was hired and the audience brought their own snacks and sleeping bags, prepared to stay the night. Taylor-Wood, like the other artists, was at the cusp of her international career. Taylor-Wood’s Killing Time was an hour-long video playback of four people waiting impatiently to lip-synch a few lines in opera music. As a visiting curator, Roberts stayed with the gallery for a week and the staff became curious about the derivation of her unusual first name. She explained that her father called her Catsou but her real name was actually Catherine Susan. Notable among the circulating exhibitions borrowed from other institutions was the Winnipeg Art Gallery’s exhibition Aganetha Dyck, shown at the msac in 1997. The exhibition included a formal wedding dress that became progressively encased in honeycomb by live honeybees. Over time the bees built a complex structure onto the surface of the fabric. The university’s apiary division staff collaborated with the gallery by cutting a hole in the exterior wall and installing a tube to allow Guelph bees to forage and re-enter the building in order to deposit their comb onto the wedding dress. Dyck donated a honey-coated frock, which she sent to us in a 1950s suitcase obtained from the Salvation Army – a perfect storage unit for the work. In 1994, fine art department chair Chandler Kirwin invited me to co-teach a fourth-year museum studies seminar to be held at the gallery. As part of the course, we initiated an internship program for six students who had taken the course the previous semester. Volunteer internships consisted of eight hours per week spent working on research and educational projects at the gallery and occasionally on other sites, such as the Guelph Civic Museum or institutions in the Toronto– Hamilton area. In 2001, as adjunct professor of fine art, I began teaching a course on Indigenous arts of the Americas. The course was held at the gallery and provided students with the opportunity to view and discuss Indigenous works in the collections. It is gratifying to know that msac staff mentored hundreds of interns 52

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3.16 msac student interns with Chandler Kirwin and Judith Nasby, 1994; from left: Juliana Murphy, Joanne McAuley, Karin Silverstone, Lisa Cipparone, and Michelle Miller

and work-study students, many of whom have gone on to distinguished careers in our field. We broadened the children’s studio art classes under gallery coordinator Verne Harrison’s supervision. An enduring and ever-popular project is the Inflatable Art Gallery. The students use transparent plastic sheeting and packing tape to create a freestanding three-metre by three-metre by six-metre enclosure that is kept inflated by an air compressor. The students then decorate the surface, inside and out, with symbols and narrative themes. An equally popular studio class activity is the weekly dressing of Carl Skelton’s Canadiana/Begging Bear – with the artist’s full knowledge and blessing, of course! I have often thought that the dressings by students or by others, mysteriously executed during the night, would make a popular set of collectable cards similar to baseball cards. Over the years, a wide variety of themes have been offered for youth classes, ranging from parent/child workshops and cartooning to video production and beaded moccasin making. MACDONALD

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In 1999, Harrison parlayed his role of collections care manager into his own exhibition titled Museum Chronicle: A Post Modern Parody. In his show, the cartoon character Popeye invades the msac ’s art collection to recreate a new take on iconic works of art, from Picasso to Micah Lexier, as simultaneous homage and parody. The centrepiece of the show was Popeye Van Gogh, majestic with his corncob pipe in an ornate gold frame. The exhibition was so popular, I persuaded Harrison to make sixteen-inch-diameter platters to be sold in the gallery shop. The source topics included Henri Matisse’s famous Dance, with Popeye cavorting with nude female dancers. Harrison was swamped with orders of this greenware, which he decorated and had fired at a shop in downtown Guelph. Shortly after the building opened, we formed a volunteer organization to operate a gallery shop, art sales, and a rental service. The volunteers serve as exhibition tour guides and assist with fundraising. The gallery shop features ceramics, glass, jewellery, and Inuit art. From day one, Kayo O’Young’s porcelain has been a perennial favourite, followed by Chris Hierlihy’s stoneware cookie jars and cereal bowls embossed with images of Skelton’s Canadiana/Begging Bear. Aside from the gift shop, volunteers host public talks on a variety of subjects and present fundraising projects like Gardenscapes, through which the public tour local home gardens. The volunteer organization has been remarkably successful. Many who joined in the early 1980s served for more than thirty years. Nancy Bligh was president of the volunteers for more than fifteen years. Funds raised by the volunteers are used for art acquisitions. Fundraising strategy focused on attracting matching funds for acquisitions, particularly for the sculpture park, through programs such as Wintario – a lottery source fund used by the provincial government to support the arts – or the Canada Council for the Arts Acquisition Assistance Program. The opportunity to have matching funds for art acquisitions was a strong motivator for donors. Some companies favoured exhibition sponsorship or supporting specific programs, such as school tours. Individual memberships were generally viewed by the public as a form of donation because admission to the gallery was free. In the 1980s, the msac initiated fundraising dinners that were held in the gallery with performances by local jazz musicians and, on three occasions, the Second City comedy theatre. An unfortunate occurrence happened during the third appearance of Second City when a member of the audience complained to the Kitchener– Waterloo Record newspaper that the management was irresponsible in presenting an objectionable performance at the gallery. A reporter came to interview me, and I strategically toured him through the galleries, avoiding Flack’s nude photographs,

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3.17 Beyond the Frame auction, 2011

which I suspected were the real source of the complaint. Fortunately, there was no follow-up article. In the mid-1990s we switched our focus to an annual fundraising auction involving the generous donation of artworks by artists from this region and across the country. Early themes were Embellished Chairs, Boxes, Tea Trays, and Bird Houses. Later the focus changed to fine art and craft, under the name Beyond the Frame (plate 3.17), and then in 2015 the title became Art/Craft. At each auction, ten to twelve students gain valuable experience under the guidance of staff members, in addition to enjoying the excitement of the auction party and live bidding. Other evening events included concerts by music faculty and students, or by visiting professors like Jacques Israelievitch, who was concertmaster of the Toronto Symphony Orchestra from 1988 to 2008. Israelievitch performed multiple times at the gallery. After his last performance, I discovered in the morning that a large portion of the track lighting system had crashed to the floor during the night, directly above where Israelievitch had played the evening before. We found out that the track was secured with regular drywall screws that were insufficient for the weight of the fixtures. The entire building’s track system was quickly secured with new anchors. This unfortunate event was the most frightening experience I had in my career.

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CHAPTER 4

Permanent Collection Specializations

When the msac opened in November 1980, the University of Guelph Collection, then about 1,000 artworks, was placed on long-term loan and under the care and custodianship of the gallery. The collection covered more than 300 years of Canadian art. Since the msac had been established as a legal body separate from the university, the gallery began to form its own collection in parallel to the university’s holdings. The first art donation came from the Guelph Creative Arts Association (gcaa ), which had amassed a collection that was established in the 1950s by Gordon Couling and others to document the work of Guelph artists.1 Included in the gift is Ken Danby’s iconic painting of the Guelph carousel (plate 4.1), a popular attraction in Riverside Park. Helen Brimmell, a gcaa member, encouraged the transfer of the artworks to the gallery. When I came to Guelph in 1968, I was astonished to find that the Guelph Daily Mercury newspaper, serving a city of 52,000, employed a permanent art critic. Brimmell wrote regularly for the Mercury at a time when larger cities did not have even one arts columnist. Brimmell also sponsored the acquisition of two works for the sculpture park, one by Rodney Graham and the other by Janet Morton. The msac ’s collection policy is to acquire historical and contemporary Canadian and Indigenous visual artworks, representative examples of international art, and works by regional artists when they have reached a high level of achievement. The strength of this policy is to take advantage of developing specializations within the collection that could be unique to Guelph and to provide exhibiting and publishing opportunities. Since there was no point in trying to compete with the Art Gallery of Ontario on building a historical collection of Canadian art, this was the perfect approach for a university-affiliated gallery. Many individuals have donated prominent historical works, enabling the gallery to focus its purchases on contemporary works. From the beginning, the msac was very active in developing the museum, to the extent that the collections (msac and University of Guelph) grew to more than

4.1 Ken Danby, Guelph Carousel, 1977, watercolour

9,000 artworks by 2016, from a modest beginning of 150 in 1968. Of these, close to 1,500 are Indigenous works of art. Significant acquisitions by First Nations artists include Hospitality Belt, a wampum belt made from quahog shell beads by Ken Maracle (Cayuga Nation, Iroquois Confederacy, Deer Clan), and a photograph, titled Ghost, by Shelley Niro (Mohawk, Six Nations of the Grand River) that depicts a Mohawk man with his ghost image behind him, representing the transfer of knowledge through the generations. There is a large holding of paintings and prints by Carl Beam (Ojibwa, M’Chigeeng, Manitoulin Island) and exceptional examples of Northwest Coast sculpture like Dogfish, a mask by Wayne Young (Nisga’a/Haida, Prince Rupert). Annual acquisitions from purchases and donations range from sixty to over two hundred. Donors can donate to either the msac collection or the university collection. One objective is to acquire major works by artists at an early stage of their careers. Examples of this are Eleanor Bond’s The Centre for Fertility and Ecology Is Subsidized by Visitors to the Water Slide Area (plate 4.2) and Ron Shuebrook’s three-and-a-half-metre-wide Untitled painting, completed in 1989 (plate 4.3). PERMANENT

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4.2 Eleanor Bond, The Centre for Fertility and Ecology Is Subsidized by Visitors to the Water Slide Area, 1991, oil on canvas 4.3 Opposite Ron Shuebrook, Untitled, 1989, oil on canvas

The heart of a museum is its collections, which are a source of enjoyment for the public and a resource for students, artists, and scholars. Dedicated collectors have enriched the gallery with significant gifts of Canadian and international art. A prominent gift is Lawren Harris’s large painting Morning Light, Lake Superior. Dr Frieda Helen Fraser donated this work in memory of her friend Dr Edith Bickerton Williams (ovc 1941), the second Canadian female graduate of the ovc . Another major gift with a local connection is a Sheffield silver plate candelabra donated by a vet student who had inherited it. Her ancestor received it in recognition for his service as a director of the Canada Company, which founded the

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City of Guelph in 1827. This spectacular object is displayed at the University of Guelph President’s House. Many artists have generously donated their own work to enrich the collections. Examples include a suite of twenty-three drawings by renowned Guelph-based cartoonist Seth, from his 1996 graphic novel It’s a Good Life, If You Don’t Weaken (plate 4.4), and Bar Beach (Beyond the Sea) (plate 4.5), a three-channel video projection with original music, donated by Australian collaborators photographer Allan Chawner and composer Andrew Chubb. The permanent collection has broad holdings representing regional artists. Examples are sixteen works by Ken Danby, over one hundred works by Rolph Scarlett, and twenty-five photographs by Susan Dobson. School of Fine Art and Music faculty like Dobson have donated substantial bodies of their own work, including adjunct professor Tony Scherman. Lyne Lapointe donated a work linked to her touring exhibition La Tache aveugle (The blind spot), held at the msac in 2006 to complement a purchase made by the gallery. Since 1980 we have had opportunities to develop unique collection specializations that led to curating international touring exhibitions and scholarly publications documenting our collections. These specializations arose from a combination of

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4.4 Seth (Gregory Gallant), It’s a Good Life, If You Don’t Weaken (page 116), 1993, ink and grease crayon on paper

4.5 Allan Chawner (artist, Australian) and Andrew Chubb (composer, Australian), Bar Beach (Beyond the Sea), 2007, three-channel video projection with original music, running time: 20 minutes

curatorial knowledge and the enthusiasm of collectors and sponsors who wished to help develop and fund a specific aspect of the collection. Every specialization has its own story to tell and the personalities of the donors are often just as compelling. Sometimes a specialization arose from our exhibition programming, inspiring the creation of a lasting document of these curatorial initiatives, or from the simple serendipity of likeminded people coming together to build a strong permanent collection for the Guelph community. The stories of how these specializations came about over almost forty years are unique to the msac and a tribute to those who played a part in their creation and promotion.

CONTEMPORARY INUIT DRAWINGS

In 1980 the Guelph company Omark Canada (now Blount Canada), through the leadership of general manager Kenneth Hammill, donated $30,000 to the msac for art acquisitions. The Ontario government’s Wintario fund matched this amount. We decided to focus on Inuit art, as this was a weakness in the collection. Since many public Inuit art collections were generalized in their holdings, we decided that if Guelph was to make a mark, we should have a specialized collection built on research and interviews with the artists. I consulted with dealers and curators like Jean Blodgett who had written numerous publications on Inuit art. We decided to build a collection and a publishing program focused on contemporary Inuit drawings because no other public gallery had this specialization. We owned a spectacular petrified whalebone carving, created in 1972 by Igloolik artist Jonah Augotoutok, a few Kenojuak Ashevak (Kinngait/Cape Dorset) etchings,

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4.6 Susan Dobson, Untitled (Rememory), 2008, giclée print on photo rag paper 4.7 Opposite Kenojuak Ashevak (Inuit), Owl, 1982, felt marker on paper

and a four-metre-long kayak frame made by a Puvirnituq elder. The kayak was hung from the ceiling in the University Library. Unfortunately, I arrived at the library one day and found the kayak missing. The chief librarian had decided to give it to the Canadian Canoe Museum in Peterborough without notifying me. It was a shame to lose this magnificent kayak, as it could have been a central piece in the Inuit art collection at the msac . 62

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KINNGAIT (CAPE DORSET)

In 1981 I asked Blodgett to accompany me on a trip to Kinngait for the purpose of providing an introduction to the community and assisting me with my selection of drawings for the collection. This was my first trip to the Arctic. I had considerable apprehensions as our plane, designed for short takeoffs and landings, approached very low over a rocky shore and abruptly stopped on a gravel runway. On exiting the plane, the first person in line for the return flight was Liz Waywell, an msac trustee, who lived directly across the street from the gallery. Amazed and surprised, I asked her why she was in Kinngait. She said she was visiting her daughter, who was on a nursing assignment. I received a very warm welcome and an enthusiastic response to our collecting focus. Blodgett and I spent several days examining more than 2,000 drawings in the West Baffin Eskimo Co-operative (wbec ) Archives. I selected over a hundred drawings for the collection, plus an important combination of an original drawing, the carved print stone, and the resulting stone-cut print by Pudlo Pudlat (plate 4.8). The acquisition was significant because the wbec only released print stones to qualified museums for study purposes. The print stone had been “cancelled” by the wbec with a cut through its surface so that no more editions could be printed. PERMANENT

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4.8a Pudlo Pudlat (Inuit), Pungnialuk, 1978, coloured pencil and felt marker on paper 4.8b Opposite Pudlo Pudlat (Inuit), Pungnialuk, 1978, stonecut (proof)

This grouping is an important feature of our Inuit art and culture tours because it reveals how the internationally recognized print editions are made. I also purchased major sculptures by leading artists. It was an intensely interesting time for me to be in Kinngait, as television technology arrived the week I was there. There were very few people walking about. People were mesmerized, watching Hockey Night in Canada and the “afternoon soaps.” In 1982, wbec executive director Terry Ryan contacted me to let me know that there was an important group of 1960s to 1970s Kinngait drawings for sale at a New York dealer. He felt these were essential works that should be in a public collection. After visiting the gallery, which was located adjacent to the Museum of Modern Art, I negotiated a price for the lot of sixty drawings and we successfully received a Canadian Heritage Movable Cultural Property grant to fund the repatriation of the works to Canada.

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We continue to add drawings by second and third generation Kinngait artists, like Annie Pootoogook (plate 4.9) and Shuvinai Ashoona, whose drawings speak about current personal and community social issues. In 2010 I visited Kinngait and purchased a drawing by Ashoona. While we walked together to the Northern Store, so I could obtain cash to pay her, she described the demons she envisioned walking beside us. Such demons in animal and human form became the subject of many of her drawings.

QAMANI’TUAQ (BAKER LAKE)

Another serendipitous opportunity, although tragic, resulted in the msac purchasing rare Qamani’tuaq (Baker Lake) drawings, including six by Jessie Oonark dating from 1959 to 1963. There was a fire at the Sanavik Co-op in Qamani’tuaq that destroyed most of the drawing archives that were used for their printmaking program; however, a number of key early drawings were stored at the Winnipeg Art Gallery. In 1981, we were notified and given the opportunity to buy this group of exceptional drawings by Qamani’tuaq senior artists.

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4.9 Top Annie Pootoogook (Inuit), Man Kneeling and Crying, 2003–04, ink, pencil crayon, and pencil on paper 4.10 Bottom Jessie Oonark (Inuit), Untitled (Fish Women), 1975, pencil and coloured pencil on paper

Inuit art scholar Marion E. Jackson was researching Qamani’tuaq drawings for her doctoral thesis at the University of Michigan. I asked Jackson to interview the artists about the drawings acquired for our collection, with translations provided by Qamani’tuaq artist William Noah. It was our intention to gather as many direct interviews with the artists as possible. Many public collections hold unidentified Inuit artworks that were collected without recording the name of the artist, date, or location. I visited Ulukhaktok (Holman) on Victoria Island in 1983, where I acquired three drawings, as they were reluctant to release any more from their archives. Very fine examples of drawings from Nunavik (Arctic Quebec), particularly from Puvirnituq, were acquired to expand our collecting mandate. Our 1987 exhibition, Contemporary Inuit Drawings, co-curated with Jackson, was the first survey exhibition of drawings by Canadian Inuit artists produced since 1960. The intention was to introduce to a wide audience to one of the least known disciplines of Inuit art. The publication documents eighty-three drawings from the collection, with loans from museums, including an inscribed hunting tally circa 1900 to trace the origins of drawing among the Inuit. The exhibition toured to the National Gallery of Canada, the University of Michigan Museum of Art, the Winnipeg Art Gallery, and the Prince of Wales Northern Heritage Centre in Yellowknife. The second major touring exhibition, Qamanittuaq: Where the River Widens: Drawings by Baker Lake Artists, was also co-curated with Jackson (plate 4.11). The publication included an essay by artist William Noah, titled “Starvation on the Land and My Experience in Baker Lake.” The exhibition, featuring seventy-seven drawings from the msac collection, travelled to numerous venues from St John’s, Newfoundland, to Montgomery, Alabama. This exhibition opened its tour in August 1994 at the Qamani’tuaq Community Centre with a selection of forty-three drawings by nineteen artists, representing thirty-five years of drawing activity in Qamani’tuaq. Mayor David Tagoona, artist Marion Tuu’luq, and I ceremonially opened the exhibition by cutting a caribou sinew rope. The opening reception consisted of a feast of caribou meat. Outside the hall, there were two oil barrels on burners, one containing caribou haunches and the other caribou heads. The guests brought their own bowls and spoons. For entertainment, there was a teen band playing country and western songs and hymns in Inuktitut. Energetic throat singing, followed by square dancing, continued well beyond midnight. The msac was the first Canadian public gallery to open an internationally touring exhibition in an Arctic community. It was significant for the artists because most had never seen their drawings framed and hung in an exhibition. Some artists were also not familiar with the work of other artists in the community, as the normal PERMANENT

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4.11 Simon Tookoome (Inuit), Caribou/Human Transformation, 1982, coloured pencil on black paper

procedure was for an artist to work at home and to take completed drawings directly to the co-op, where they would be purchased and either kept in the archives or sent to dealers in the south. msac staff members Nancy Campbell, Verne Harrison, and Stephen Robinson accompanied me to Qamani’tuaq to attend the 1994 Art Symposium, organized by Qatqamiut (Baker Lake Historical Society). The conference featured Inuit speakers and a presentation of women’s beaded amautiq (parkas) (plate 4.13). The symposium attracted an international audience including four psychiatrists who explained that they came because they were fascinated with the animistic spirituality of the artworks and the transformation subjects. Qamani’tuaq art dealer Marie Bouchard was instrumental in assisting the msac in beginning a collection of wall hangings. The gallery has more than sixty wall hangings by Qamani’tuaq women artists. A major show of these wall hangings was held at the msac in the summer of 2013. Art critic Robert Enright commented to me that the show was one of the finest exhibitions of contemporary art he had seen that year.

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4.12 Above Artist Marion Tuu’luq, msac director Judith Nasby, and Mayor David Tagoona cutting a caribou sinew rope to open the exhibition Qamanittuaq: Where the River Widens in Qamani’tuaq, Nunavut, 1994 4.13 Winnie Owingayak wears her elaborately beaded caribou amautiq showing the distinctive Qamani’tuaq design during a history of clothing presentation at the Baker Lake Art Symposium, Qamani’tuaq, Nunavut, 1994

4.14 Irene Avaalaaqiaq (right) with Sally Qimmiu’naaq Webster, who translated Avaalaaqiaq’s University of Guelph convocation address, 1999 4.15 Opposite Irene Avaalaaqiaq (Inuit), Woman Alone, 1999, wool duffle, felt, and cotton embroidery thread

We began acquiring wall hangings by Qamani’tuaq artist Irene Avaalaaqiaq, which led to the msac nominating her for a University of Guelph honorary doctorate. Fine art professor Chandler Kirwin and zoology professor David Noakes supported the nomination. In 1999, Avaalaaqiaq was the first Indigenous person to receive an honorary lld (doctor of laws) degree from the University of Guelph. In her address to the arts and agricultural graduates, she spoke of growing up and living on the land, where she was taught to hunt and survive during periodic times of starvation. She contrasted her life experience to their modern university education. Following convocation, we had a celebratory dinner for which Professor Noakes, a specialist on fish, provided an entrée of freshwater Arctic char specimens from his research project. Avaalaaqiaq declared that they were delicious and tasted quite like those she has caught in Qamani’tuaq. In honour of her degree, the msac commissioned Avaalaaqiaq to make four large wall hangings and eight drawings in coloured pencil to add to our extensive collection of her wall hangings dating from 1981 to 1998. We toured an exhibition 70

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of her work in Canada, to the Embassy of Canada Prince Takamado Gallery in Tokyo, and to the Museo del Canal Interoceánico de Panamá in Panama City. A book on her life and her art, titled Irene Avaalaaqiaq: Myth and Reality – my first manuscript to be published by McGill-Queen’s University Press in 2002 – accompanied the exhibition. In 2010, I visited Avaalaaqiaq in her Qamani’tuaq home, accompanied by Shawn Van Sluys, executive director of Musagetes, an international organization based in Guelph that is committed to making the arts “more central and meaningful in people’s lives and in our societies and communities.” In Avaalaaqiaq’s usual entrepreneurial fashion, she had created five new wall hangings for our arrival that were for sale. There was a large pot of boiled caribou stew with onions and potatoes, placed on a sheet of cardboard on the kitchen floor. Avaalaaqiaq and her family retain the traditional Inuit custom of eating cross-legged, and she uses her ulu, a traditional crescent-shaped knife, used by women to prepare and cut the meat. On her living room wall, there was a photo of the artist holding a rifle in front of the head of a massive grizzly bear. Due to the warming Arctic climate, grizzlies are now seen in the Qamani’tuaq area. She said that she had been hunting on her snowmobile with her son-in-law, who had gone off to another location. Suddenly PERMANENT

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a grizzly appeared very close to her and she felled it with one shot. She took the carcass back to the settlement and proudly said that she earned a thousand dollars for the skin.

TOURING EXHIBITIONS

Wilmington, Delaware

In 1990, Fred and Lucy Herman of Norfolk, Virginia, asked me to advise them on forming a collection of contemporary Inuit drawings. I visited their home, an eighteenth-century sea captain’s house with a 360-degree cupola. Fred’s architectural firm specializing in historical building restoration was located on the lower level. Their residence above was filled with European and American eighteenth-century furniture, with old master drawings displayed in every room, some double and triple hung. I spent considerable time studying the drawings, followed throughout the house by their dog, an impetuous, bark-less Basenji. That visit led to an exhibition at the msac of their old master drawings shown jointly with our Inuit drawings. Renaissance scholar Chandler Kirwin co-curated this unusual combination. I curated an exhibition of the Herman collection of Inuit drawings for the College of William and Mary’s Muscarelle Museum of Art in Williamsburg, Virginia. The exhibition toured to the Texas Maritime Museum in Corpus Christi and then in 2003 to the University of Delaware’s Old College Gallery in Wilmington, Delaware, where the Hermans’ son Bernard is a professor of American material culture. In 2003, the Hermans donated their Inuit drawing collection to the University of Delaware. I was invited to give a public talk that was followed by a celebratory dinner at the university president’s home, a red brick Georgian house in the typical Ivy League architectural style. On arriving for the dinner, guests were greeted by the president’s wife handing a double Scotch to those who were interested. The home was filled with period furniture, decorative arts, and paintings hung throughout. On returning to Guelph, I met newly installed President Alastair Summerlee and his wife, Catherine, at the University of Guelph’s President’s House, which stood in marked contrast to the president’s house at the University of Delaware. The University of Guelph’s President’s House is built of stone with Gothic detailing on the eaves. Professor Donald F. Forster, president of the University of Guelph from 1975 to 1983, collected nineteenth-century Ontario and Quebec pine furniture. He acquired fine examples of painted cupboards, a dining table, arrow back chairs, and sideboards. Following his untimely death at age forty-nine, his furniture was be72

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queathed to the university for use at President’s House. Unfortunately, the entire collection, except for a Wellington County dry sink, was sold at auction in order for the interior to be redecorated. Lois Matthews, wife of the next president, Burton Matthews (1983–1988), redecorated the home with reproduction French provincial furniture and pastel carpets from Eaton’s department store. Lois acknowledged her contribution by having a plaque installed on the front of the fine limestone fireplace in the living room, reading “President’s House restored by Lois Matthews.” The house continued to be the home of subsequent university presidents until the appointment of Summerlee (2003–2014), when the building became a facility for meetings and receptions. The Summerlees were interested in the history of the house, and, together with local collectors Bill and Wynn Bensen and other enthusiastic donors and lenders, we began to transform the house into a living museum of nineteenth-century furniture and decorative arts.2 The dignified presence of the interior, decorated with artworks from the msac and university collections, enhances fundraising initiatives and serves as a unique cultural resource for the campus. Jaipur, India

In 2000, art historian Rekha Bhatnagar invited the msac to send an exhibition of Inuit drawings to Jaipur, India, for display at the Jawahar Kala Kendra arts and cultural centre. The Rajasthan minister of culture, Bina Kak, placed marigold garlands around the necks of attendees to signify the official opening of the exhibition. In her remarks, she linked the Inuit images to symbolic tribal paintings found on walls, floors, and textiles in Rajasthan. My museum colleagues in Canada had advised us that very few Canadian museums had ever sent exhibitions to India because of potential administrative complexities, which proved to be the case in our experience. The exhibition arrived on time, clearing Indian customs, but took more than eighteen months to be returned to Canada, and only after a number of extra fees (bribes) were paid. The explanation was that the customs officer who approved the entry had been sent on a year’s assignment to Kashmir and that only he could process the documents for return shipment. Fortunately, he was reassigned to Jaipur and after much anxiety our drawings were returned unharmed. Innsbruck, Austria

In 2002, Professor Sybille-Karin Moser at the Leopold-Franzens-Universität Innsbruck invited me to curate an exhibition of Inuit drawings that would be shown concurrently with a Canadian Studies conference held at the university. The exhibition, PERMANENT

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titled Asingit, meaning “Their Others” in Inuktitut, was accompanied by a publication with numerous essays, including a contribution by Gerard van Bussel, chief of ethnology at the National Museum of Ethnology in Vienna. Following the Innsbruck presentation, van Bussel arranged for the exhibition to be shown at his museum, where it was displayed adjacent to their remarkable collection of Northwest Coast and Inuit artifacts collected by Captain James Cook when he visited the Pacific coast of Canada in 1778. Through the sponsorship of the Canadian Department of Foreign Affairs and International Trade and its embassy staff, the show continued to Prague, Warsaw, and Budapest, each time with a newly translated publication. In each city, there was a remarkably high level of interest in Inuit art and culture. At the Náprstek Museum of Asian, African and American Cultures in Prague, seventeen representatives from television, radio, newspapers, and magazines attended a media conference for the modestly sized exhibition displayed in a lecture room. It is hard to imagine that this level of media response would occur in Canada. Ethnology museums like the Náprstek were very active in the nineteenth century, collecting Indigenous artifacts from around the world. In this case, the museum’s founder travelled extensively in North America in 1848, acquiring such remarkable items as painted buffalo robes, entire teepees, and beaded clothing. It was erroneously believed at the time that ethnologists were preserving objects made by dying cultures. Today, these objects are recognized as priceless artifacts; however, unlike most North American museums that maintain strict temperature and humidity levels, the Náprstek museum’s environment was only controlled by the opening and closing of windows. Panama City, Panama

In 2007, the Canadian Embassy in Panama arranged for the Qamani’tuaq drawings exhibition to be shown at the Museo del Canal Interoceánico de Panamá in Panama City, using the title Voces del Norte (Northern voices). The Canadian ambassador to Panama, José Herrán-Lima, hosted the opening reception, a highly cultural event attended by a large audience including twenty ministers and deputy ministers. The ambassador, museum director, government officials, and I were called forward to the podium. We were each given a pair of scissors decorated with red ribbons. In unison we cut a long red ribbon to open the show of thirteen drawings. The interest in Canadian Inuit culture was extraordinary, as my lecture and question period lasted for more than two hours. My translator, Angela Laird, told me she was married to Oswaldo DeLeón Kantule, one of the leading Kuna artists in Panama. She explained that they lived in London, Ontario, and that Kantule spent time in Kuna Yala (formerly the San Blas Islands, and now Guna Yala) for his art practice. 74

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The embassy arranged a research trip for me to visit the very small island community of Wichubwala, El Porvenir, in Guna Yala, to study the art and culture of the Kuna, the largest Indigenous group living in Panama. I met the chief, who conducts community business in a traditional way while seated in his hammock. The women cook on charcoal braziers on the dirt floors of their thatched houses, where they sew beautiful reverse appliqué cotton molas that they wear on the front and back of their blouses. The traditional abstact mola designs symbolize Kuna cosmology. While I was there, a cruise ship’s Zodiacs brought about a thousand tourists to the island. The entreprenurial women were waiting with a massive display of molas, many depicting parrots, flowers, and unusual subjects like horses, all made to appeal to the tourists. Mola sales to tourists are an important component of family incomes. Kantule arranged for me to meet with a number of urban Kuna women who make molas at a cultural centre in Panama City. These women were particularly interested in how Inuit women artists sell their wall hangings, as there is little government sponsorship for Kuna women who make molas. As a result of this encounter, I contacted Kantule to commission his sister Domitila DeLeón Kantule and thirteen other Kuna women from different islands to create molas that would be six times larger than the usual size of a standard mola, each averaging about one metre by one and a half metres. I asked each woman to sign and title her work to reinforce the concept that they were making artworks in a new format. Some images were abstract Kuna spiritual symbols, while others depicted flora and fauna, or narratives about the sixteenth-century Spanish conquest of Panama. A particularly interesting one depicted a 1930s cholera epidemic on one of the islands (plate 4.17). These large molas complement the Inuit wall hangings in the msac collection – yet another specialization within the gallery’s textile holdings. Later I was invited to write a catalogue essay for an exhibition of Kantule’s paintings titled Entre Signos, Símbolos y Seńales, held at the Casa Cultural Huellas in Panama City. Arising from this experience, the msac acquired two works for the collection. Kantule said he had a high regard for Norval Morrisseau. In a painting titled Homage to Norval Morrisseau (plate 4.18), Kantule blends Kuna symbolic imagery with Ojibwa animal/human transformation as a statement of Indigenous spirituality. While in Panama City, I gave a lecture on Canadian art at a local art school, where I was astonished to see that works by professors that were hung in the hallways had hardly advanced beyond 1960s abstraction. The students at this expensive school were bright and eager with questions, as I suspected they had had few international PERMANENT

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4.16 Top Doris Beneth (Kuna), Untitled, 2008, reverse cotton appliqué 4.17 Bottom Eufrocina Robinson (Kuna), Untitled (Cholera), 2008, reverse cotton appliqué 4.18 Opposite Oswaldo DeLeón Kantule (Kuna), Homage to Norval Morrisseau, 1997, acrylic on canvas

guest speakers. I answered many questions about Indigenous art and life in Canada, including how people survived in winter temperatures so different from Panama. The embassy arranged a second trip for me to visit the Emberá deep in the Chagres National Forest. Our guide said he was part Emberá, part Spanish, and part Chinese – he described his multiculturalism as the “the history of Panama.” We travelled by dugout canoe to reach a small village of 150 people who were content to live, as family groups, in this remote location. They welcomed us with a demonstration of jazz-like music. The men played flute and percussion instruments while the women performed dances interpreting the movements of hummingbirds, deer, and raptors. The women wore colourful cotton skirts with beaded breast coverings, invented in response to outside visitors, as previously they would have been bare chested. The women made some of the finest baskets in the world, using abstract Emberá symbolism and images of cockroaches, beetles, butterflies, and bats. Families lived in raised wattle huts with palm frond roofs. Twelve members of the community attended the small Baptist church, while the others followed Emberá spirituality led by a seventy-two-year-old shaman. The shaman was intensely interested in Canada’s Indigenous people, particularly the Inuit and their art making, government sponsorship, and the preservation of their language and spirituality. We were only allowed to stay for five hours. On leaving, we were accompanied by four high school students wearing traditional clothing. On arriving at the landing, they disappeared for a few minutes and then reappeared with typical high school wear of printed T-shirts, patterned skirts, and sneakers, ready to board a small van that took them to their billets, where they would stay for a few days each week in town. I was very impressed with the foresight of their parents in preserving the Emberá community by supporting their teenage children in this way as they learned to adapt in an urban environment. Caracas, Venezuela

In 2008, the Voces del Norte exhibition travelled to Caracas, Venezuela, where it was shown at the Central University of Venezula. I experienced a tense environment throughout the city streets and around the campus, where paramilitary police with ak-47 s patrolled in large numbers. There were very few tourists at the museums and galleries at the time and only a small number ventured out to attend the exhibition opening.

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4.19 Lois Betteridge, Brandy Snifter (interior), 1983, sterling silver with antler and labradorite set in a cup

C O N T E M P O R A R Y C A N A D I A N S I LV E R

In 2000, we curated an exhibition to show the best work by leading Canadian metalsmiths and to acknowledge Guelph artist Lois Etherington Betteridge’s influence and mentorship of multiple generations of silver artists. Betteridge (1928–2020) was the matriarch of Canadian silversmithing, and her work forms the foundation of PERMANENT

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the msac ’s specialized metal collection. She is known for her innovative hollowware, ecclesiastical silver, and jewellery. For over fifty years, she guided the craftsmanship and development in the work of generations of students and apprentices. The exhibition, titled Lois Etherington Betteridge: A Tribute Exhibition, ignited an overwhelming interest in contemporary silver. In response to the exhibition, an anonymous donor gave the gallery significant funding to establish a specialized collection of contemporary Canadian silver, the only one of its kind at a Canadian public art gallery. In the manner of a Festschrift, the gallery invited seven artists to make new pieces for the tribute exhibition. At the same time we held a symposium on metal art and began assembling the specialized collection, which now includes forty-five works by nineteen artists from across Canada: Beth Alber, Jackie Anderson, Mary Anne Barkhouse (Nimpkish, Kwakiutl First Nation), Anne Barros, Michael Belmore (Anishinaabe), Aggie Beynon, Beth Biggs, Brigitte Clavette, Lois Etherington Betteridge, Antoine Lamarche, Fiona Macintyre, Michael Massie (Inuit, Métis, and Scottish), Ross Morrow, Harold Muller, Sandra Noble Goss, Kye-Yeon Son, Ken Vickerson, Susan Watson Ellis, and Lyn Wiggins. The majority of the works in the collection are commissions while others are gifts from the artists. This specialization adds significantly to the scope of the collection, providing the public and collectors the opportunity to study the work of Canada’s leading metalsmiths.

HISTORICAL EUROPEAN PRINTS

I first encountered Andrew Brink in 1986 when I received his letter admonishing me for allowing the msac to accept money from the tobacco industry for the sculpture park. I felt there was little reason to reply, since I was convinced that I would not be able to persuade him otherwise. The second occasion was in 1992 when Brink and his wife, Helen, attended the opening reception for George Wallace’s exhibition, titled An Old Fart’s View of a Floating World, a show of monoprints inspired by dour portraits of business men in the Globe and Mail. Wallace was a mutual friend and Brink knew that I had studied printmaking with Wallace at McMaster University. I learned that Brink grew up in Wisconsin, where he had been an amateur ski jumper in his youth. Brink was professor emeritus of English and had been an associate member of the Department of Psychiatry at McMaster. His wide-ranging scholarly career included writing on English literature and on psychoanalytical subjects. One notable book was Desire and Avoidance in Art: Pablo Picasso, Hans Bellmer, Balthus, and Joseph Cornell. Helen, a well-known potter, had her work featured in our gallery shop – her teapots, inspired by Japanese ceramics and the work of British

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4.20 Top Anne Barros, The Secret Lives of Forks, 2000, sterling silver and silk 4.21 Bottom Susan Watson Ellis, Under/Exposed 343, 2000, sterling silver

4.22 Paulus Potter (Dutch), The Grey Horse, 1652, etching

potter Bernard Leach, were renowned for never causing a drip. At the Wallace exhibition opening, Brink asked me a question: “Do you like Dutch prints?” I replied very much in the affirmative, explaining that European printmaking was an area in which we would like to expand. The Brinks made an exceptional gift of more than a thousand etchings and engravings to the university collection. The Brink Collection is comprehensive in its scope and spans four centuries of European art, with some North American works. It was methodically assembled through the eye of an astute scholar and it provides rare and in-depth holdings by numerous historical master printmakers, such as Claude Lorrain and Antoni Waterloo. Brink built the collection over many years by acquiring prints from major European dealers, and in later years even purchasing them from eBay. The collection contains a remarkable selection of etchings, engravings, and mezzotints – some of the most accomplished prints ever made. The donation was made in memory of Brink’s parents, R. Alexander Brink and Edith Margaret Whitelaw Brink. They both came from Woodstock, Ontario, to study on the Guelph campus. Alexander graduated from the oac with a chemistry and physics degree in 1919 and Edith with a domestic science degree in 1921. 82

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4.23 Samuel Palmer (British), The Herdsman’s Cottage, 1850, etching

4.24 Claude Lorrain (French), The Shipwreck, circa 1638–41, etching 4.25 Opposite Gu Xiong, The Sickle and the Cell Phone, 2002, bronze

Our first exhibition, The English Picturesque and Dutch Landscape Prints of the Seventeenth Century, depicted an unembellished rural life in the Netherlands, heightening English awareness of their countryside. The English “picturesque” sensibility flourished before the Industrial Revolution altered the terrain and rural mentality forever. Artists like William Blake and Samuel Palmer expressed a yearning for the simplicity of pastoral life amidst England’s pending industrialization. The second exhibition, Landscape: Flemish, Dutch and French prints of the “Golden Age,” included etchings and engravings from the height of the Northern Renaissance, featuring extraordinary works by renowned artists Jan “Velvet” Brueghel, Paulus Potter, and Jan Van de Velde, among others. In the “Golden Age,” print editions were widely circulated and elaborately bound by collectors, who kept them in their “cabinets of curiosities.” 84

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In 2014, we presented a major exhibition of etchings by Claude Lorrain, one of the most celebrated landscape painters of the seventeenth century. Lorrain’s etchings match the mastery and execution of his paintings, yet have been largely unrecognized by contemporary collectors and art historians. The fifty Lorrain etchings form the keystone of the Brink Collection. Brink’s last book, Ink and Light: The Influence of Claude Lorrain’s Etchings on England, was published posthumously by McGill-Queen’s University Press. Brink explained how Lorrain’s prints were seminal to the establishment of aesthetics in England, giving rise to the English garden movement that had international influence on landscape design. Sadly, Andrew passed away in 2011 and Helen in 2016. They would have been pleased to know that a highlight of Professor Christina Smylitopoulos’s introductory art history course is a visit to the gallery to see the Claude etchings. The students are each assigned to select an etching and, after careful examination, to write a curatorial analysis.

CONTEMPORARY CHINESE ART

Chinese Canadian artist Gu Xiong’s 2002 exhibition The Sickle and the Cell Phone featured photographs he took in rural Sichuan province on a return trip to visit the village where he worked as a farm labourer during the Cultural Revolution. The

images document the effects of globalization on farming families – some made poorer, others benefitting – and give evidence to the prevalent use of cell phones to make business deals. Gu’s photographs included images of rural labourers sleeping under transport trucks in Chongqing because there was no accommodation available for them, and a triptych showing three farmers – one smoking a handmade pipe, one holding three cell phones, and one with a golf club. The exhibition included Gu’s large bronze sculpture The Sickle and the Cell Phone (plate 4.25), a refiguring of the communist hammer and sickle symbol. This work is permanently installed in the sculpture park. In 2004, we toured Gu’s exhibition to the Sichuan Fine Arts Institute (sfai ) in Chongqing. Neither the bronze sculpture nor its model went to China! From 2001 to 2009, on each of my five trips to China, sfai president Luo Zhongli and his wife, Chen, took me on trips to remote rural villages rarely visited by Westerners. We met farmers and merchants, explored vernacular architecture, and sampled distinctive rural cuisines, local beers, and medicinal brandies, some containing snakes and botanicals in the bottles. Although there was no refrigeration in these villages, I trusted that the food was fresh, as it was customary to examine the potential entrée before making a decision. The chef invites you to the courtyard behind the kitchen with its huge wood-fired woks and holds up a live rabbit by the feet and a carp by the tail, asking what you would like. I chose fish. The contrasts were remarkable. We saw pigs being taken to market on bicycle handlebars while we had full cell phone coverage driving through mountain tunnels. We visited small local temples and Qing dynasty theatres that had escaped destruction during the Cultural Revolution. We also visited massive fortifications made by an ancient and unidentified dynasty that were melding into a hill. We investigated centuries-old farming terraces and vast irrigation systems similar to those at Dujiangyan, the site of the devastating 2008 earthquake. I also visited the Tibetan Buddhists living in Xiahe, Gansu; and the Naxi, Bai, and Miao people in Yunnan province. The women were selling their traditional embroidered clothing, silver, and beaded vestments for cash so they could buy new, modern, commercially made replacements. Some were selling for economic necessity. Others wanted to replace their ancestors’ handmade garments and jewellery for Western wedding dresses or cheap base-metal imitations of traditional wedding ensembles. My experiences in the rural and urban centres of China, together with Gu’s exploration of globalization in rural communities, informed my decision to coauthor a book with Craig Pearson, who was at the time dean of the oac . The book, titled The Cultivated Landscape: An Exploration of Art and Agriculture, was published by McGill-Queen’s University Press in 2008. It traces the changing global 86

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paradigms of agriculture from the Middle Ages to the twenty-first century, illustrated with artworks that reflect these changes, created by historical and contemporary Canadian and international artists. Many of the artworks that illustrate the book are held in the msac ’s collections. The opportunity to be a visiting curator at the sfai blossomed into a number of collaborations. In 2007, sfai gallery director Feng Bin and I co-curated an exhibition called Chinese Drawings from Huxian, Jinshan, and Qijiang, and Contemporary Canadian Inuit Drawings. The show toured in China and was the subject of an international symposium titled “Research On and Comparisons of Aboriginal Arts in China and Canada,” hosted by the sfai . I was invited to be their first international visiting lecturer. During the question period, a student asked me if there were any restrictions on subject matter for Canadian artists. My answer of “generally, no” raised the eyebrows of the Communist Party official assigned to the event to screen its content. He was not particularly pleased. After the exhibition was shown in Guelph, the msac acquired thirty-five of the Chinese paintings for the collection, as a document of the fruitful relationship and rich cultural exchange between the msac and the sfai . Paper cutting, brightly coloured embroidery, and kitchen murals influence paintings from Jinshan District near Shanghai. The majority of the Jinshan artists are women who are also farmers. In Pig King (plate 4.26), piglets surround a boar, a theme celebrating fertility and traditional farm life. Contrasting this is the painting Green Chemical Factory (plate 4.27), a complaint about pollution affecting crops – wishful thinking for a better future. In 2006, I curated an exhibition titled Contemporary Painting from Chongqing for showing at the msac , featuring recent work by sfai faculty and some graduate students. Eleven works by Feng Bin, Liu Ping, and others were acquired for the collection. A third curatorial collaboration with Feng Bin, in 2009, was the exhibition Art from the Native Soil, which focused on brilliantly coloured gouache paintings and multiple hued woodcuts from different regions in China. The artworks document China’s transformation from a centuries-old agrarian society to technological modernity. After a tour in China, the exhibition was shown at the msac , and twenty-nine gouache paintings and some woodcuts were added to the collection. Song of Four Seasons (plate 4.30) by artist Li Chengzhi, from Qijiang county of Chongqing, is a massive sixty-one- by eighty-nine-centimetre colour woodcut depicting an encyclopedic view of farm activities, from plowing by oxen to winnowing. sfai president Luo, who is a nationally recognized artist, felt it was important to initiate these projects with the msac , as there was a Chinese government policy to increase the esteem of farmers, who were feeling the adverse effects of urbanization PERMANENT

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4.26 Gu Beili (Chinese), Pig King, gouache on paper 4.27 Opposite Zhu Yaying (Chinese), Green Chemical Factory, gouache on paper

and economic development. This engagement with an art gallery at a Western agricultural college yielded a fruitful document of rapidly changing times in China.

F I R S T N AT I O N S B E A D W O R K

In 2015, beadwork artist Naomi Smith (Neyaashiinigmiing) let us know that Toronto collector William Burkitt Reid was interested in finding a suitable home for his more than 300-piece First Nations beadwork collection. Curator of contempo88

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rary art Dawn Owen and I visited Reid in his home, a nineteenth-century town house in downtown Toronto. He had filled it with all manner of Victorian furnishings and decorative arts. The house featured an antique spiral staircase he had retrieved from an industrial building and a wide range of collectibles, including a century-long history’s worth of kitchen and domestic gadgets. It was impossible to find the actual kitchen until I discovered a secret sailboat-sized galley kitchen hidden under the main stairs. Reid had methodically built the collection of historical Woodlands and Northeastern Indigenous beadwork over thirty-five years and had devoted himself to maintaining and conserving each piece. The artworks made by First Nations women dated from the last quarter of the nineteenth century to the 1950s. The collection PERMANENT

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4.28 Feng Bin (Chinese), No. 16, 2002, acrylic on canvas

included small handbags, some eight-sided; birds holding berries in their beaks; and elaborate pin cushions in all manner of highly decorated styles, some with flowing bands of lustrous beads. Reid’s collection also included Glengarry caps embellished with beaded images of the Prince of Wales feathers, which were popular with the military, as well as souvenir items, including match holders and picture frames, marketed to tourists at Niagara Falls and at the Canadian National Exhibition to enhance family incomes. The collection also included an Ojibwa bandolier bag. In 2015 Smith curated an exhibition entitled Travelling with the Ancestors: An Exploration of Historical First Nations Beadwork to introduce Reid’s remarkable donation to the Guelph community and to our curatorial colleagues across the country. Naomi Smith’s Ode to Lelia and the Ancestors (plate 8.1a and plate 8.1b), a flat bag depicting a different design on either side, was added to the beadwork collection in 2015. 90

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4.29 Liu Ping (Chinese), Bobi: A Touch of Red, 2006, acrylic on canvas

4.30 Top Li Chengzhi (Chinese), Song of Four Seasons, 2004, colour woodcut 4.31 Bottom Anonymous, Tuscarora artist, Large Flat Bag, circa 1870, seed and tube beads on wool and cotton

4.32 Anonymous, Woodland artist, Bandolier Bag, circa 1900, seed and tube beads on velvet and cotton

CHAPTER 5

Sculpture Park

From the first conceptualization for renovating the school into a gallery, we had a vision of creating a sculpture park on the two-and-a-half-acre site surrounding the building. The park was established in 1983 and now contains thirty-nine permanent works. It is named after University of Guelph president Donald F. Forster (1975–83), who died suddenly on the cusp of becoming president of the University of Toronto. Our curatorial approach has been to hold national competitions and conduct commissions, with the objective of creating a collection of outdoor public works that would relate to each other. We encouraged artists to consider the relationship of their proposals to existing pieces, landscape features, and the history of the site.

CONCEPT AND SETTING

From the beginning, the concept for the sculpture park was to develop a series of outdoor “galleries” that would feel like an extension of the building. The approach was to place the emphasis on art acquisitions rather than creating a set landscape plan that required a specific number of works to complete its design. The collection, in other words, would develop as a curatorial project consistent with the gallery’s overall programming objective to present exhibitions and to build a dynamic collection of contemporary Canadian art. This approach places the landscaping in a secondary position to the sculptures, resulting in one of the few sculpture parks in North America that has soft landscaping. This may be defined as a naturalistic approach to landscape forms and plant materials, a minimum of hard surfaces, and a perimeter informally defined with trees and scrubs. The emphasis is placed on low-maintenance flowering trees that are natural to the area. The installation of each sculpture is the result of a series of discussions between the curator and artist to finalize the proposal and determine the siting. In the case of competitions and commissions, the negotiation involves a series of stages, from initial idea to concept sketch, maquette, and engineering specifications. Because

5.1 Janet Morton, Before Flight, 2012, limestone and bronze

the park is used throughout the year, artists’ proposals need to be conceived of as being equally effective in summer and winter. To begin the site’s transformation from a schoolyard to a sculpture garden, the msac hired landscape architect Walter Kehm to provide a concept plan that could be used for fundraising purposes, and a construction plan. The initial construction in 1983 defined the perimeter, and a white colonnaded court linked the garden to the building, mimicking the Doric columns on the historic front porch. The first commission was Passages by Kosso Eloul. This large-scale, modernist, painted corten steel sculpture is on a hill at the leading edge of the park. I met with Eloul and his wife, Rita Letendre, in their studio/home on Sherbourne Street in Toronto. Their combined studios on the second floor were packed with Eloul’s models and drawings, and Letendre’s large, hard-edge geometric paintings. We vacated the second-floor studios to have tea in their perfect tiny garden, containing a pond with water lilies and very large multicoloured koi, who were happy to be fed. We discussed various concepts for the chosen site, as I wanted a signature piece that would signify that Guelph now had a new public gallery and sculpture park. Eloul then took me on a tour to see his work in architectural settings and parks, and, by prior arrangement, we visited Percy Waxer’s private garden to see Eloul’s small sculptures integrated with work by other artists. After a few visits to the msac ’s newly landscaped sculpture park, we decided on a sculpture consisting of three balanced rectangular forms, positioned over a V-shape. Eloul’s sculpture is flanked by large sugar maples on either side. The siting and selection of the subsequent thirty-eight artworks and the compact nature of the site meant that an outdoor sculpture exhibition was slowly evolving.

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5.2 Opposite Frances Loring, Turkey, 1932, bronze 5.3 Florence Wyle, The Harvester, 1938, bronze

We created a historical context for the park by adding works by Frances Loring and Florence Wyle. Loring’s 1932 bronze, titled Turkey, is a posthumous casting that expresses the nobility of the animal as a symbol of modernity. The sculpture is modelled in the typical streamline style of the 1930s that was prominent in all aspects of the arts, from locomotive designs to cocktail shakers. Wyle’s The Harvester, created in 1938, is a heroic symbol celebrating the nobility of the working man, in its gesture of a muscular farm hand raising a jug to drink after working hard in the fields. During the 1930s many eastern Canadian men “rode the rails” to the prairies to obtain work on the grain harvest.

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COMPETITIONS

The initial process for the selection of the work involved holding a national sculpture competition sponsored by du Maurier, whose largest cigarette manufacturing facility was in Guelph. The competition held in 1985 attracted more than 250 submissions, resulting in a substantial archive on contemporary Canadian sculpture. The competition was decided by a jury of five, chaired by the msac director, and resulted in a tie between Tony Urquhart and Robert Wiens. Du Maurier Arts generously and conveniently sponsored both sculptures. The chair of du Maurier Arts, Maureen Forrester, “unveiled” the two sculptures. She spoke eloquently about our new initiative to create an outdoor sculpture collection that would be an important addition to Canadian fine arts and a showcase for our best artists. Our relationship with du Maurier Arts continued through 1994 with their sponsorship of works by Evan Penny, Catherine Burgess, Brian Scott, and Kim Adams. In 1994, du Maurier Arts received the Ontario Association of Art Galleries’ Annual Corporate Sponsorship Award for funding the sculpture park. We launched a second competition for artist benches. Notable among these commissions is Verne Harrison’s bronze Dual School Bench (plate 5.6), modelled after a 1950s school desk and created in celebration of the msac ’s twenty-fifth anniversary and the one hundredth anniversary of Macdonald Consolidated School. The sculpture comes complete with a wad of gum under the seat – cast in bronze (of course) – inscribed hearts on the desk top surface, and a conveniently located ink well, often used by visitors to the bench as a coffee cup holder. Another bench commission was Derek Sullivan’s Push Pin, which arose from his mfa thesis exhibition, held at the msac . Since the gallery had put out a call for bench proposals, Sullivan cleverly turned this initiative into an ongoing workshop in which he made hundreds of his own bench proposals that became the content of his exhibition. He also invited the public to contribute, resulting in hundreds more ideas for benches. From this project, we selected Sullivan’s orange-coloured Push Pin, which became a prominent marker for the gallery. Later we changed our process so that commissions were offered as part of the regular acquisition process, often with an accompanying exhibition of the artist’s work linked thematically to the outdoor sculpture. A third commission was Beth Alber’s bench titled Visionary (plate 5.7), a massive block of pink granite that Alber found in a Quebec quarry. The rectangular block is bench height and is naturally split in two sections. Alber inscribed the following words across the vertical face of the sculpture: “A country is something that is built every day out of certain basic shared values. And so it is in the hands of every Canadian to determine how well and wisely we shall build the country of the future. – Pierre Elliot Trudeau.” 98

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5.4 Robert Wiens, Enclosure with Sections of a Horse and Soldier (detail), 1987, steel and copper

Many emerging or established artists had their first opportunity to create a permanently sited outdoor public work in the park. This group includes Kim Adams, Beth Alber, Jane Buyers, Verne Harrison, Janet Morton, Evan Penny, Gord Peteran, Don Russell, Brian Scott, Cynthia Short, Carl Skelton, Derek Sullivan, Tony Urquhart, Robert Wiens, and Gu Xiong. Tony Urquhart chose to place his twenty-metre-long Romanesque cathedral formation Magic Wood (plate 5.5) within an existing grove of trees. The steel sculpture has a movable reliquary-like structure at the crossing of the transept and nave. Urquhart incorporated into the work the camouflage screening of the leaves in the summer and the stark contrast of the painted brown sculpture with tree branches SCULPTURE

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5.5 Tony Urquhart, Magic Wood, 1987, painted steel 5.6 Below Verne Harrison, Dual School Bench, 2002, bronze

in the winter. Responding to the growth and decay of the trees, Urquhart decided to allow his sculpture to change as well, by requesting the gallery repaint Magic Wood in white. Evan Penny, winner of the second national competition, proposed a work conceived for a specific location on the ridge at the front of the park. His two-metrehigh bronze Mask (plate 5.8) depicts the face of a youth on the concave side. A stereoscopic effect is created as the viewer moves past the sculpture, making the image appear to be convex rather than concave. By leaving the weld marks open between the individual castings on the interior, Penny added a further illusion that suggests the face is made of collapsing puzzle pieces. The sculpture appears as if it is the head of Zeus fallen from the skies. The reverse side of the sculpture depicts an older sleeping face modelled in a loose fashion, its mouth and chin nestled in the grassy slope. As people drive past the sculpture, it mysteriously appears to quickly change from a concave image to a convex image. The stereoscopic effect was so startling on installation day that three minor traffic accidents – fender benders – occurred in front of the sculpture. The public soon adopted Mask as the beloved iconic image for the msac .

5.7 Beth Alber, Visionary, 2001, granite

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In 1996, we replaced the trellis court with a plaza designed as a site for John Greer’s sculpture Three Grains of Wheat, depicting massive seeds and challenging current concerns about genetically modified food. Greer subsequently donated two additional works, Gas Jets and Feather, which were also installed on the plaza. Reinhard Reitzenstein created an actual entrance archway for the park. His stainless steel work incorporates a bronze casting of a paper wasp’s nest near the apex of the arch. A vine of wild grapes winds up the arch, ensuring a changing interface between hard metal and natural forms. The sculpture, titled Memory Cell, references the University of Guelph as Canada’s leading agricultural research institution, in particular for its work in apiculture and oenology. Jane Buyers’s Agricultura (plate 5.9) also reflects on agricultural research dating from the 1870s, and the introduction of a scientific approach to nature study for students attending Macdonald Consolidated School. The bronze sculpture is a leafcovered book that appears to grow out of actual tree branches. A smaller book covered with roots is caught in the crux of a tree. Both parts are installed like lecterns in the middle of the park. Buyers’s idea for the sculpture, partly funded by the former chief librarian Florence Partridge, evolved from studying the history of the school and rare manuscripts in the university library. Brian Scott’s Stray Plow (plate 5.10) was originally conceived as a temporary installation for the Toronto Sculpture Garden. In that setting, its irony was based on its placement in a tight architectural environment in downtown Toronto. The msac presented Scott with the opportunity to create wave patterns across the breadth of the park, as this commonplace Canadian Tire aluminum runabout, “powered” by a 1950s outboard motor, appears to be on course towards a Muskoka-like shoreline. The reflective, polished stainless steel plate inside the boat has further enhanced the precariousness of this vehicle for human transport. In 2005, msac trustee Marilyn Murray persuaded her fellow Macdonald Institute graduates of the class of 1955 to sponsor a sculpture, commissioned in recognition of their fiftieth anniversary. We decided on Qamani’tuaq artist William Noah, who had a long involvement with the msac as a translator and coauthor of one of our major publications on Qamani’tuaq drawings. Noah was only available to come to Guelph for one week before the unveiling on alumni weekend, when fifteen to twenty of the graduates would be attending the ceremony. By correspondence, Noah and I decided on a stone inuksuk. I arranged for a reinforced concrete pad to be in place and a number of large boulders to be on site for his arrival. When I picked him up from his bed-and-breakfast in the morning, he said he had a vision in the middle of the night about the form and meaning of the sculpture, to be titled Kiv1 02

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5.8 Evan Penny, Mask, 1989, bronze

5.9 Top Jane Buyers, Agricultura, 1997, bronze 5.10 Bottom Brian Scott, Stray Plow, 1993, aluminum boat, outboard motor, and stainless steel

ioq’s Journey Ends (plate 5.11). Kivioq, well known throughout the Arctic, is a mythical figure who is constantly travelling and involved in heroic adventures. Noah represents Kivioq symbolically in the form of an amethyst-studded stone, resting on his kayak. The sculpture alludes to the idea that Kivioq has finally come to rest, expressing the pride of the Inuit on the establishment of their self-governed territory of Nunavut. The triangular stone is an inuksuk, indicating the msac as a place of significance. At the unveiling, the Macdonald Institute class of 1955 toasted the artist and his sculpture. Noah, the youngest son of Jessie Oonark, passed away in 2020. He is remembered as a community leader who twice served as mayor and previously as a member of the territorial government before Nunavut was established. Gord Peteran created a nine-metre-long brass sculpture that has the appearance of a deconstructing banquet table, commenting on themes of feasting, family interactions, and social mores. Artifact of Invention (plate 5.12) is fabricated with hundreds of pieces of jagged brass, creating a feeling of discomfort. A metal table brings

5.11 William Noah (Inuit), Kivioq’s Journey Ends, 2005, stone

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to mind clinical uses by surgeons, butchers, and morticians. Thorny rose bushes beneath the sculpture are growing through the irregular openings in the tabletop. The artist’s intention is for roses to completely engulf the sculpture. Shortly after the sculpture was installed, Peteran was delighted to find that students had had their own New Year’s Eve party at the banquet table, as evidenced by empty cabernet sauvignon and Hennessy cognac bottles found the next morning. The sculpture park was created to serve a broad public, from tourists to special interest groups, including members of the five university fine art programs that are within the greater Guelph region. A measure of curatorial success is perhaps whether the sculptures can be both a popular and critical success. Carl Skelton’s Canadiana/Begging Bear, in its prominent location beside the bus stop in front of the building, has enduring appeal for the entire community. For Guelph and its visitors, the proximity of the sculpture park to a public art gallery and the availability of information on individual pieces help prepare viewers for a positive experience with public art. The sculptures in the park reveal how artists have carefully considered the historical context of the site and the curatorial objectives of the collection. The future challenge for curator and artist alike will be to contextualize new commissions within this dynamic collection of Canadian sculpture.

5.12 Gord Peteran, Artifact of Invention (detail), 2013–14, brass, and wild and domestic roses

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CHAPTER 6

Curatorial and Educational Programming

Since 1980, the msac has benefited from the vision and creativity of four curators – Lynn Barbeau, Ingrid Jenkner, Nancy Campbell, and Dawn Owen – who have received national recognition for their exhibitions, critical writing, and projects documenting Canadian visual arts. From 1968 to 2016 the gallery presented more than 150 shows by artists from Guelph and its vicinity, often engaging guest writers. Numerous artists have had their first public gallery exhibition and publication at the msac . Curator of contemporary art Dawn Owen, who joined the gallery in 1998, has curated numerous exhibitions, including Ryan Price: …draw while…, which involved the artist drawing directly onto sheets of mounted drywall with graphite; Pearl Van Geest: This Pale Mouth, featuring Van Geest’s iconic lip print paintings; and Kate Wilhelm: Yes, These Bones Shall Live, a photographic series of theatrically staged domestic portraits of the women “warriors” who compete in the regional roller derby circuit. The exhibition Feral by Susan Detwiler was an exploration of the domestic and the wild through an innovative installation of works made from repurposed materials. Detwiler’s bronze sculpture Camp became the thirty-first permanently sited outdoor installation and the fourth artist bench to be installed in the sculpture park. For the portrait series that became the exhibition Rememory, the artist Susan Dobson photographed her subjects with their eyes closed, in a darkened room, while they were asked to recall a memory. Janet Morton’s The Ravelled Sleeve presented her large-scale knitted works that explore time and labour through video and performance art. Morton’s exhibition accompanied the unveiling of her sculpture Before Flight, the thirty-seventh commission for the sculpture park. Owen also curated David Hoffos’s Scenes from the Dream House, which included a series of illuminated tableaux of tiny figures confronting mysterious nocturnal landscapes. Cole Swanson’s Out of the Strong, Something Sweet featured large-scale installations of animal bodies, premodern art forms, sculptural media, and emergent technologies in an interpretive exploration of trans-species relations, specifically human, bee, and bovine biologies. In 2009, Owen organized a major exhibition

of fifty paintings by Natalka Husar. Burden of Innocence presented Husar’s paintings as a history play with three acts that explored the social, political, and cultural vortex of Ukraine. The exhibition travelled to five galleries across Canada and was accompanied by a publication titled the Husar Handbook. School of Fine Art and Music art historian Gerta Moray was one of the five guest writers for the 2010 publication. Among the gallery’s educational objectives is to integrate university students into the operations of the gallery by allowing them to handle and register artworks, par108

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6.1 Kate Wilhelm, Gender Bend’her, 2011, digital C-print

ticipate in exhibition design decisions, and learn installation techniques. The gallery has hosted mfa thesis exhibitions and art history graduates researching the collections. In addition to public talks by artists and curators, the community benefits from faculty giving lectures and having access to conferences like New York Abstraction, a symposium held at the gallery in 1996. The msac has also developed educational programs with community groups such as Action Read, Homewood Health Centre, day cares, and long-term living homes. C U R AT O R I A L

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6.2 Susan Detwiler, Green Plot, 1999, green party dress, felt, and human hair

Other collaborations with the School of Fine Art and Music focus on engaging students with visiting artists like Leon Golub, whose visit coincided with his exhibition While the Crime Is Blazing: Paintings and Drawings, 1994–1999, a coproduction between the msac ; Bucknell University Art Gallery in Lewisburg, Pennsylvania; and the Segal Centre for Performing Arts in Montreal. A notable collaboration with the 2003 Guelph Jazz Festival was Jesse Stewart’s Wheels of Time, an exploration of improvisational sound on his own fabricated instruments, in this case vinyl records etched with aesthetic patterns and performed on turntables.1 For many years, the Jazz Festival academic colloquium was held at the msac in early September, creating a fertile collaboration for exhibitions that were linked thematically. The Test Tubes, a 1997 exhibition consisting of glass instruments designed and played by Stewart, in collaboration with Israelievitch on violin, Reitzenstein on a klang bau, and Gayle Young on an instrument she designed, called an amaranth. The performance accompanied Reitzenstein’s exhibition titled Wildness and the Scientific Method, which included sculptures he designed and had fabricated using the university’s glass blower. Professor emeritus Thomas King has been a perennial presence at each Guelph Jazz Festival, photographing the performers on and off stage. For the 2013 festival, the msac produced Sound Check, the first major exhibition of King’s jazz photography. Other faculty collaborations included an exhibition of the scenography of Cameron Porteous, who was head of design at the Shaw Festival in Niagara-on-the-Lake from 1980 to 1997. The exhibition was co-curated by University of Guelph professor and theatre designer Patricia Flood and Sean Breaugh, a production designer for film and television. Since its founding in 1965, the University of Guelph’s fine art program has grown to be one of the largest and most prestigious in Ontario, with specializations in studio art, music, and art history. Over the years the gallery has recognized the achievement of studio faculty by curating exhibitions supported with publications and acquisitions, providing the community at large and the campus, including their students, with an opportunity to see their work. Exhibitions often focus on recent work, such as James Carl’s Do You Know What (2009) and Monica Tap’s The Pace of Days (2014). Another was the exhibition Two Fang Hoe, by fastwürms (the collaboration between Dai Skuse and Kim Kozzi), and their sculpture park commission Ex Ovo Omnia. The sculpture, a multifaceted white orb, three metres in diameter, is imprinted with brightly coloured chemical symbols for the human proteins, A, C, G, and T. The title references William Harvey’s 1651 book Exercitationes de Generatione Animalium, which discussed the doctrine of ex ovo omnia, the idea that all life originates from an egg. The interior of the sculpture includes a double C U R AT O R I A L

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6.3 fastwürms, Ex Ovo Omnia (interior), 2000, fibreglass, steel, stained glass, mirror, light fixture, and acrylic paint 6.4 Opposite Eileen MacArthur’s exhibition Inconsolable at the Boarding House Gallery, 2016

helix, depicting human dna , and various animals and heraldic shields imprinted with the A, C, G, and T symbols, as a warning about the unknown possibilities of biogenetic engineering. A number of the faculty have been recognized with significant national prizes, such as the Governor General’s Award for Architecture presented to professor emeritus Margaret Priest in 1994 and the Governor General’s Award for Visual and Media Arts presented to professor emeritus Suzy Lake in 2016. In addition, Professor Christian Giroux, in collaboration with Daniel Young, received the 2011 Sobey Art Award. Graduate student Patrick Cruz won the rbc Canadian Painting Competition in 2015 and graduate student Ambera Wellmann won the same award two years later. Among the many collaborations with the School of Fine Art and Music is the Boarding House Gallery (bhg ) at Boarding House Arts, located in a historical nineteenthcentury heritage building in downtown Guelph. The bhg ’s mandate is for the School of Fine Art and Music to present exhibitions by senior fine art and mfa students and for the gallery to showcase the collection and other exhibitions in an offcampus setting. Another successful collaboration resulted in the 2007 comprehensive exhibition Shakespeare Made in Canada, curated by Daniel Fischlin, university research chair in the School of English and Theatre Studies. Fischlin is also the founder and director of the Canadian Adaptations of Shakespeare Project (casp ) at the University

of Guelph. casp is the largest online resource in the world for the study of Shakespeare in relation to a national theatre practice. The exhibition is documented in a publication edited by Fischlin and Nasby, and in a virtual exhibit created by casp in 2009. The exhibition explored Canadian adaptations in theatre, pop media, and the visual arts, featuring archival material from casp , the university’s L.W. Conolly Theatre Archives, and props, costumes, and playbills from the Stratford Festival Archives. Also included were artworks by Indigenous and non-Indigenous artists, including new commissions and pieces selected from the msac collection, contemporary theatre designs, and adaptations of Shakespeare in French Canada. Sorouja Moll, a staff member at the time and now a professor at the University of Waterloo, contributed her play girlswork, an adaptation of Romeo and Juliet, as well as her scholarship on Louis Riel and the residential school system in Canada. A highlight of the Shakespeare Made in Canada exhibition was the Canadianowned Sanders portrait of Shakespeare painted in 1603. The exhibition included detailed documentation by Fischlin about its provenance and the results of fifteen scientific tests conducted by the Canadian Conservation Institute to verify its authenticity. The portrait drew thousands of visitors, including elementary and secondary school students who participated in an innovative learning commons. The six-month-long exhibition was a remarkable success, engaging a broad audience to consider how Shakespearian themes are present in today’s popular culture and how historical paintings are researched and authenticated. For a few years after the close of the exhibition, numerous tourists on arriving at the gallery announced that they had come to see the portrait of Shakespeare. We eventually tracked down the source of this misinformation – a provincial tourism guide that promoted the portrait as the msac ’s sole feature. We quickly made arrangements to correct this strange marketing error. Others claimed incorrectly that this valuable portrait was secretly stored in our art vault. In 2015, under Owen’s leadership, the gallery began hosting the Middlebrook Prize for Young Canadian Curators in collaboration with the Middlebrook Social Innovation Fund and the Musagetes Fund at the Guelph Community Foundation. The Middlebrook Prize, established in 2013 in partnership with the Elora Centre for the Arts, is awarded annually to an emerging Canadian curator who is under thirty, with the aim to foster social innovation and curatorial excellence in Canada. The prize is hosted and administered by the gallery, and the winner is selected by a jury of arts leaders and receives an honorarium, an exhibition at the gallery, and mentorship from the curatorial team and jury members. The first Middlebrook Prize exhibition at the Art Gallery of Guelph was The Queer Feeling of Tomorrow, curated by Adam Barbu in 2015, followed by Blood, Sweat, Tears curated by Isabelle 114

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and Sophie Lynch in 2016. This prestigious partnership greatly enhances the gallery’s commitment to curatorial mentorship. In 2016, Moll and Owen joined a gathering of Indigenous and non-Indigenous artists, cultural institutions, academics, and residential school survivors to produce an immersive, site-specific art and performance installation at the Mohawk Institute, Canada’s first residential school. The initiative was called the Mush Hole Project, a reference to how the students referred to the Institute. This gave the Guelph community, through the gallery’s involvement, a space of meaningful reconciliation in the context of Canada’s tragic residential school legacy. Through the project, the gallery recognized its geographic, architectural, and educational history and shared obligation to actively respond to the Truth and Reconciliation Commission of Canada’s Calls to Action. The project explored the potential of interdisciplinary art and performance as methods of decolonization, featuring the work of seventeen Indigenous artists presented at the Mohawk Institute adjacent to the Woodland Cultural Centre in Brantford.

6.5 Don Russell (Mi’kmaq/Acadian), Circle Mound, 2016, earth, plant materials, and reclaimed locally quarried limestone

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In conjunction with the Mush Hole Project, the gallery commissioned Circle Mound (plate 6.5) by Don Russell (Mi’kmaq/Acadian) as the thirty-ninth outdoor sculpture. The installation is a gathering place that encourages visitors to enter and interact with its elements: earth, stone, plant matter, and open air. The sculpture conveys a First Nations worldview focused on the importance of the circle in concepts of time and spirituality. It acknowledges the history and presence of Indigenous peoples on this land and represents a step toward reconciliation between Indigenous and non-Indigenous people in the community of Guelph. The mounds that extend from the circle reference the Speed and Eramosa rivers that flow through Guelph. The sculpture also uses reclaimed limestone from Guelph’s historical 1882 Petrie Building: an act of repurposing and returning the stones to the land from which they came.

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CHAPTER 7

Art Gallery of Guelph (2014–Present) In 1978, the msac was incorporated through a provincial act as the Macdonald Stewart Community Art Centre. The sponsoring bodies, particularly the City of Guelph and Wellington County, felt strongly that the word “community” should be in the name, to convey the institution’s mission to serve the broad region. There was concern that, because the building is located just north of the campus, there would be a perception that the gallery was a department of the University of Guelph and not open to the community at large. Similarly, the organization was described as a centre, rather than as a gallery, for accessibility. Later, the name was shortened for convenience to the Macdonald Stewart Art Centre. When Wellington County withdrew from the agreement in 2008 to focus their cultural funding on their own facilities, an opportunity arose to clearly describe that the centre was in Guelph. Over the years, many other local organizations also became known as “centres,” diluting the significance of this word in relation to the gallery. The name change required a new provincial act, which was passed in 2014. At the same time, under acting director Dawn Owen (2013–2016), the front porch and building access were renovated and new Art Gallery of Guelph signage gave a fresh look to the façade. In 2017, Owen became the curator of the Guelph Civic Museum. For many years, Evan Penny’s sculpture Mask served as a popular icon for the gallery. When Carl Skelton’s Canadiana/Begging Bear (plate 7.1) was installed in a prominent location beside the bus stop in front of the building, the Mask’s popularity was eclipsed. With Skelton’s blessing, mysteriously and often nightly, the bear is dressed in clothing, hats, banners, and sometimes with a penny in its paw. This occurs with no objection from the artist, who said he welcomes the energetic engagement with his sculpture by the public. After my retirement in 2013, the gallery began a new era with a new name, a new legal act, and a renovated façade. Dr Shauna McCabe became director in August 2016. The history and international reputation of the curatorial programs and

7.1 Carl Skelton, Canadiana/Begging Bear, 1995–99, bronze

7.2 Art Gallery of Guelph in 2016

collection specializations are a firm foundation for the Art Gallery of Guelph’s continued success and future achievements in serving this community and beyond. It is a tribute to the many people who have contributed over the past 100 years to making the Art Gallery of Guelph what it is today: one of Canada’s leading art museums.

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(2014–PRESENT)

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8.1a, b Naomi Smith (Neyaashiinigmiing), Ode to Lelia and the Ancestors, 2014, flat bag (front and back)

APPENDIX 1

Macdonald Stewart Art Centre Armorial Bearings Armstrong, Herbert, “Arma Artesque Cano” (Toronto: Heraldry Society of Canada, December 1986) Reproduced with permission from the Royal Heraldry Society of Canada The Macdonald Stewart Community Art Centre is constituted a Corporation by Act of the Legislature of the Province of Ontario dated 30th November 1978, upon application jointly of The Corporation of the City of Guelph, the University of Guelph, The Wellington County Board of Education, and The Corporation of the County of Wellington. The Art Centre occupies the premises of the former Macdonald Consolidated School, built in 1904 with funds from Sir William Christopher Macdonald (1831–1917), and enlarged and renovated in 1979– 1980 with funds initiated from the Macdonald Stewart Foundation.

T O H O N O U R R O YA L H O U S E

Located on lands adjoining those of the University of Guelph, the Centre is engaged in the collecting and exhibiting of works of art, and in educational activities related to fine art. When it was recognized that such an institution might with propriety display armorial bearings, there being no Canadian heraldic authority, a grant was sought of the ancient Court of the Lord Lyon King of Arms in Edinburgh. Even though the name Guelph was given in 1827 to honour the Royal House, the stability of the community may be attributed in no small part to the Scots influence. Many of the nineteenth century stone buildings are the product of the skill of Scottish stonemasons, and they still stand. Further, there can be no doubt about the Macdonald Stewart Art Centre, as it is usually known, or about the Macdonald Stewart Foundation, the president of which was Colonel David Macdonald Stewart, whose arms were matriculated by the Lord Lyon King of Arms on 21st November 1972. The formal petition pertaining to the Arts Centre, signed by Charles C. Ferguson, Chairman of the Board of Trustees, Judith M. Nasby, Director, and the writer of this note, a Founder Member, was duly submitted 30th May 1984.

It is a genuine pleasure to acknowledge that, in the experience of the writer (in 1984) the present Lord Lyon, Malcolm R. Innes of Edingight, is no less willing than (in 1966) his distinguished father, Sir Thomas Innes of Learney, late Lord Lyon, to give consideration to suggestions submitted by a petitioner. Thus correspondence in the present instance resulted in our Ensigns Armorial being matriculated on 2nd November 1984, blazoned as follows: Parted per pale, dexter Or, a fess chequy Azure and Argent between in chief a human heart voided of the Field between two cross crosslets fitchée Gules and in base a tobacco leaf erect Proper, all within a bordure of the Fourth; sinister parted per fess Gules and Azure, in chief a horse forcené Argent between in sinister chief and dexter base an ancient crown Or, and in base a cross Gules fimbriated Argent between in each quarter five plates in saltire, the cross within a bordure Argent charged with seven garbs Tenné. Above the Shield is placed an Helm suitable to an Incorporation (videlicet: – a Sallet Proper lined Gules), with a mantling Gules doubled Or, and on a Wreath of the Liveries is set for Crest a cubit dexter arm Proper vested paleways Gules and Vert and cuffed chequy Azure and Argent, the hand Proper holding an artist’s brush Sable garnished Argent, an in an Escrol over the same this Motto “ut artes honoremus .” The dexter half of the shield bears the arms of the late Colonel David Macdonald Stewart, who was president of the Macdonald Stewart Foundation at the time our petition was in preparation but, regrettably, did not live to see what would have given him pleasure as an Honorary Fellow of the Heraldry Society of Canada. The fess of chequy Azure and Argent has identified a Stewart since at least the mid-14th century. It is believed to refer to a valued accoutrement of the steward in the counting of fees and rents being collected from tenants, when spread on the ground or on the table. The pair of cross crosslets fitchée refer to the Macdonalds, being a device that has been used by them for perhaps 1400 years. The tobacco leaf Proper represents a basis of the Macdonald financial capability. The heart is reminiscent of the little metal heart affixed to every plug of tobacco; the void perhaps involving a pun on the word plug, as in plugged nickel – a mark of marksmanship! In sinister Chief are represented elements of the arms of The Corporation of the City of Guelph (granted by the College of Arms, London, in 1977), end of the armorial device of the University of Guelph (registered under the Trade Marks Act, Ottawa). The horse Argent is depicted courant with raised head in Westphalia, a component of the Hanover* charged in the Shield of the United Kingdom from George I (1714) to Victoria (1837). The rendering in the City of Guelph is not that of a trotting horse but, rather, of a racing horse (“flat out”)

* The Guelf family from the medieval times were rulers of what became known as Hanover, a German Electorate until 1816, when it became a Kingdom.

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– a posture necessitated by the fess on which it is placed. The rearing horse Argent so widely familiar as the crest of the University of Guelph device is commonly described as rampant, a term desirably restricted to clawed animals. The word forcené is reminiscent of the furious chargers rearing in combat, as depicted in such ancient works as the medieval tapestries. Regardless of posture, our horse forcené Argent in this case represent both the “town” and “gown.” The two ancient crowns Or convey the same element of regality as do the three ancient crowns Gules in the City of Guelph shield. In sinister base is rendered the shield of The Corporation of the County of Wellington, a grant of the Lord Lyon in mid-September 1984, just six weeks prior to the present grant. The County, of course, is named after the Duke of Wellington (Arthur Richard Wellesley) whose 1814 shield is quartered Wellesley and Colley. Wellesley is Gules a cross Argent in each quarter five plates saltirewise. The County shield, therefore, is differenced, in two ways: (1) by the cross Gules on Azure, necessitating fimbriation Argent, and (2) by the bordure Argent charged with garbs Tenné. The Wellington County Board of Education, not having unique armorial bearings, is regarded as being subsumed in the arms of the County of which it is a unit. The Helm, known by the 14th century English word sallet, lacks such features as characterize those worn by the nobility. It is deemed, therefore, to be appropriate to corporations such as ours. The Crest, a lower right arm, is clothed as with an artist smock, the chequy Azure and Argent of the cuff again reflecting the great friend of the Centre. The paley Gules and Vert maybe taken to be indicative respectively of caution and of venture – qualities so much sought after in administrators of such enterprises. The artist’s brush needs no elaboration! The Latin motto ut artes honoremus is a translation of the English “that we

may honour the arts ” – surely an appropriate summary of the objectives of our Art Centre. To the best of our knowledge the Macdonald Stewart Art Centre is the yet alone amongst Ontario, even Canadian, galleries and museums in having its own armorial bearings. We take a proper pride in being the first; and we commend to others the pleasure of achievement!

MACDONALD

STEWART

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APPENDIX 2

Publications from 1969 to 2016

SOLO EXHIBITIONS

Exhibition catalogues published by the Art Gallery of Guelph, the Macdonald Stewart Art Centre, and the University of Guelph Art Gallery dating from 1969 to 2016, and books by external publishers: Chris Ahlers: Urban Systems Dawn Owen (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 2008 The Andrew Smith Paper Christopher Hume (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1990 Stephen Andrews: Facsimile Deborah Esch (exhibition catalogue) Oakville Ontario: Oakville Galleries and the Macdonald Stewart Art Centre, 1991 Sara Angelucci: Accidental Visions Nancy Campbell (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1994 The Art of Thomas Nisbet: Master Cabinetmaker David Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2012 Roy Ascott (brochure) Guelph, Ontario: University of Guelph Art Gallery, 1972

Irene Avaalaaqiaq: Myth and Reality Judith Nasby (peer-reviewed book) Montreal, Quebec: McGill-Queen’s University Press, 2002 Sheila Ayearst: Verge Jeanne Randolph (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1990 Ralph Beney: Fabrications Ralph Beney and John Willard (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1986 Dana Bentley: The Liars Dana Bentley (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1987 Leon Berkowitz Judith Nasby (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1970 Berlin 2013/1983 Daniel Young, Christian Giroux, and Kenneth Hayes (exhibition catalogue) Guelph, Ontario: Art Gallery of Guelph and Ed Video Media Arts Centre, 2016 Armand Buzbuzian: Ribbons, Sculpture and Drawings Lynn Barbeau (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1981 Janet Cardiff: Tabl’eau – I Want to Sell You Something Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1999 James Carl: Do You Know What: A Survey, 1990–2008 Barbara Fischer, Judith Nasby, and Mary Misner Guelph, Ontario: Macdonald Stewart Art Centre, 2009

P U B L I C AT I O N S

FROM

1969

TO

2016

125

Don Carr: Better Living: A Survey of Works on Canvas and Paper, 1970–1987 Hanna Deirdre and Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1987 John Chalmers: Exotica Katherine Tweedie (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1981 Teri Chmilar: Pearl (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1985 Cora Cluett: Now We Are Alone Together Nancy Campbell (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1995 Michael Collins: Installation Drawings (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1982 Alex Colville: Collection of Helen J. Dow Helen J. Dow (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1974 Judith Coxe: Vital Signs Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1981 Nick Craine: Parchment of Light Nick Craine (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2007 Stephen Cruise: Desserts – A Working Title Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1983 Christine Davis Nancy Campbell, Chantal Pontbriand, and Christine Buci-Glucksman (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1993 126

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Greg Denton: “Anyone Lived…” Greg Denton (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 Susan Detwiler: Feral Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2005 Otto Dix: The War (etchings) Judith Nasby (exhibition brochure) Guelph, Ontario: University Guelph Art Gallery, 1970 Susan Dobson: Rememory Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2008 Stan Douglas Nancy Campbell and Catherine Crowston (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1994 Toronto, Ontario: York University Art Gallery, 1994 Yosef Drenters: A Lifetime of Drawing Chandler Kirwin and Jane Urquhart (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1990 Yosef Drenters: Images of the Madonna Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1982 John Elderfield: Drawings Paintings John Elderfield (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1971

fastwürms : Ex Ovo Omnia Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2001

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fastwürms : Ex Ovo Omnia Judith Nasby (exhibition catalogue, hardcover version) Guelph, Ontario: Macdonald Stewart Art Centre, 2001

fastwürms : Ex Ovo Omnia Judith Nasby (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 Robert Flack Nancy Campbell and Tim Guest (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1993 Robert Flack: This Is True to Me (bookmark and cd ) Co-published with the Eternal Cosmic Love Machine, 1994 Paul Fournier: Paintings and Graphics, 1962–1969 (reprint) Judith Nasby and Paul Fournier (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1969 Paul Fournier: The Mushroom Series Judith Nasby and Paul Fournier (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1974 Lillian Freiman: Paintings and Drawings Judith Nasby (exhibition catalogue) Agnes Etherington Art Centre, in association with the University of Guelph Art Gallery, 1978 Leon Golub: While the Crime Is Blazing: Paintings and Drawings, 1994–1999 Stuart Horodner and David Liss (exhibition catalogue) Lewisburg, Pennsylvania: Bucknell Art Gallery Guelph, Ontario: Macdonald Stewart Art Centre Montreal, Quebec: Saidye Bronfman Centre for the Arts, 1999 K.M. Graham: Paintings and Drawings, 1971–1984 Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1984

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Mark Grenville: A Continuing Dialogue Lynn Barbeau (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1984 Mark Grenville/Ian McKay Lynn Barbeau (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1979 Arthur Handy: Ceramic Sculpture 1962–65 and 1985 Robert Fulford and Suzanne Funnell (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1984 Verne Harrison: Museum Chronicle: A Post Modern Parody Verne Harrison and Gregory Klages (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1999 Robert Hedrick: Paintings Michael Snow (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1990 Robert Hengeveld: Promised Lands Robert Hengeveld, Dawn Owen, Jonathan Newman, Julie René de Cotret, John Massier, and John G. Hampton (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2014 Paul Hess: As Much as You Think: Paintings Ingrid Jenkner and Suzanne Funnell (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1986 Barry Hodgson: Landscapes Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1984 Paul Hoeffler: Jazz Dawn Owen and Paul Hoeffler (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2001

P U B L I C AT I O N S

FROM

1969

TO

2016

129

David Hoffos: Scenes from the House Dream Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2005 Robert Howson: Targets: The New Pretty? Sheri Manuel (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2003 Sophie Hungerford: Sculpture Susan Farr (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1989 Andrew Hunter: In the Pines Andrew Hunter (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 Natalka Husar: Husar Handbook Natalka Husar, Greta Moray, Carol Podedworny, Stuart Reid, Dawn Owen, and Meeka Walsh (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre Hamilton, Ontario: McMaster Museum of Art Owen Sound, Ontario: Tom Thomson Art Gallery Regina, Saskatchewan: MacKenzie Art Gallery, 2010 The Imaginary Portrait: The Work of Hertha Muysson John M. MacGregor (exhibition catalogue) Agnes Etherington Art Centre Kingston, in association with the University of Guelph Art Gallery, 1974 Ink and Light: The Influence of Claude Lorrain’s Etchings on England Andrew Brink (book) Montreal, Quebec: McGill-Queen’s University Press, 2013 David H. Kaye: Engaged Reliefs Lynn Barbeau (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1982

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Christina Kingsbury: ReMediate Christina Kingsbury Anna Bowen, Dawn Owen, and Karen Houle (exhibition catalogue) Guelph, Ontario: Art Gallery of Guelph, 2016 John Kissick: A Survey of Recent Painting Judith Nasby and Liz Wylie (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2004 Gordon Laird: Mesa Cantos Nancy Campbell (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1992 Suzy Lake: Authority Is an Attribute Gerta Moray, Mary Lalonde, David Kilgour, Judith Nasby, and Suzy Lake (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1991 Micah Lexier: Self-Portrait as a Proportion Nancy Campbell (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1998 Arthur Lismer: Watercolours Nora McCullough (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1987 Stephen Livick: Photographs Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1983 Evan Macdonald: A Retrospective Ingrid Jenkner and Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1986 Evan Macdonald: A Painter’s Life Flora Macdonald Spencer and Judith Nasby (book) Waterloo: Wilfred Laurier University Press, 2008

P U B L I C AT I O N S

FROM

1969

TO

2016

131

Diane Maclean: Lovely Weather Judith Nasby, Giles Askham, Doug Benn, Terry Gillespie, David Walter-Toews, and William M Schertzer (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2004 Arnaud Maggs: Numberworks Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1989 Marion Manning: Tracking Dawn Marion Manning (website publication) Guelph, Ontario: Macdonald Stewart Art Centre, 1999–2000 Robert Mason: Moving Home Judith Nasby (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 Barry McCarthy: Watercolours Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1986 Ian McKay: Paintings and Drawings Ingrid Jenkner and Ian McKay (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1982 Roberta McNaughton: Mighty Real Nancy Campbell (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1997 Gordon Monahan: Music from Everywhere Jesse Stewart (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2005 Cecily Moon: Figments of Reality Nancy Campbell (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1992

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Regan Morris: Last Works Nancy Campbell and Robin Metcalfe (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre Mississauga, Ontario: Art Gallery of Mississauga, 1994 Janet Morton: Entwine Sarah Milroy, Janet Morton, Melanie A. Townsend, and Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre London, Ontario: Museum London, 2012 Lori Newdick: Felonious Ihor Holubizky and Jess Atwood Gibson (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 Jan I.M. Noestheden: The Casino’s Evil Twin Susan Jane Douglas (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 Of Time and Buildings Alison Nordström and Sarah Bassnett (exhibition catalogue) Guelph, Ontario: Art Gallery of Guelph, 2015 Rochester, New York: George Eastman House Museum, 2015 Stu Oxley: Recent Works on Paper Anne McPherson (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1991 Jan Peacock: Nuits Blanches: Dark Days, Sleepless Nights, Voice and Nothing More Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1990 Maria Pezzano: Repeating Imprints Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2009

P U B L I C AT I O N S

FROM

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Roland Poulin Walter Klepak (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1990 Ryan Price: …draw while… Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2006 Margaret Priest: The View from Here Ihor Holubizky (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre Hamilton, Ontario: Art Gallery of Hamilton, 1996 Tammy Ratcliff: Far from the Tree Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2004 Kelly Richardson: Terrene Scott McGovern, Dawn Owen, and Elizabeth Dent (exhibition catalogue) Kamloops, British Columbia: Kamloops Art Gallery Guelph, Ontario: Art Gallery of Guelph and Ed Video Media Arts Centre, 2015 Carolyn Riddell: Carrying Home Dawn Owen (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 David Rokeby: Giver of Names Nancy Campbell and Erkki Huhtamo (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1998 Gustavo Romano: La Tarde de un Escritor (The Afternoon of the Writer) Susan Jane Douglas (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1989 Cheryl Ruddock: Girl Colours Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1989

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Cheryl Ruddock: Slip Dawn Owen and John Kissick (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2010 Don Russell: Re-presentation Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1989 Miho Sawada Miho Sawada (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1980 Rolph Scarlett: Art, Design and Jewellery Judith Nasby (touring exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1997 Rolph Scarlett: Painter, Designer, Jeweller Judith Nasby (peer-reviewed book) Montreal, Quebec: McGill-Queen’s University Press, 2004 Selected Drawings: The Figure Guelph, Ontario: University of Guelph Art Gallery, 1978 Ron Shuebrook: Drawings John Kissick, Carl Lavoy, Melanie Authier, Robert Enright, and David Urban (exhibition catalogue) Chatham, Ontario: Thames Art Gallery, 2013 Guelph, Ontario: Macdonald Stewart Art Centre, 2014 Halifax, Nova Scotia: msvu Art Gallery, 2014 Oshawa, Ontario: Robert McLaughlin Gallery, 2015 Kelowna, British Columbia: Kelowna Art Gallery, 2015 Ron Shuebrook in Guelph Ingrid Jenkner and Ron Shuebrook (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1990

P U B L I C AT I O N S

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Carl Skelton: Out Here Andrew Hunter, Judith Nasby, and Pamela Meredith (exhibition catalogue) Kamloops, British Columbia: Kamloops Art Gallery Guelph, Ontario: Macdonald Stewart Art Centre, 1999 Eric Snell: Magnetic Sculptures Eric Snell (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1983 Sound Check: The Jazz Photography of Thomas King Ajay Heble, Dawn Owen, Dionne Brand, Mauricio Martinez, and Christine Bold (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, and the Guelph Jazz Festival, 2012 Monica Tap: The Pace of Days Monica Tap, Barry Schwabsky, Christina Ritchie, and Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2014 Cole Swanson: Out of the Strong, Something Sweet Ashley McLellan, Carolyne Topdjian, and Dawn Owen Guelph, Ontario: Art Gallery of Guelph, 2016 Ehryn Torrell: Self-Similar Ehryn Torrell, Robin Metcalfe, Laura Schneider, Jane Neal, and Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2014 Halifax, Nova Scotia: Saint Mary’s University Art Gallery, 2014 Sydney, Nova Scotia: Cape Breton University Art Gallery, 2014 rbc Emerging Artists Project, 2014 Kate Wilhelm: Yes, These Bones Shall Live Dawn Owen (exhibition catalogue) Guelph, Ontario: Art Gallery of Guelph, 2015

G R O U P E X H I B I T I O N P U B L I C AT I O N S

Exhibition catalogues published by the Art Gallery of Guelph, the Macdonald Stewart Art Centre, and the University of Guelph Art Gallery dating from 1969 to present: 136

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After Virtue Jeffery Swartz and Nancy Campbell (exhibition catalogue) Cold City/Galeria Carles Poy Barcelona, in association with the Macdonald Stewart Art Centre, 1992 Analogous Structures: Mowry Baden, Robin Collyer, Andres Gehr Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1988 Asingit: Their Others Ursula Mathis-Moser, Gerard van Bussel, Sybille-Karin Moser, Elke Nowak, and Judith Nasby (exhibition catalogue) Innsbruck, Austria: Leopold-Franzens-Universität Innsbruck, 2002 Beethoven 1770–1970 Dr Franz Grasberger; translated by Eugene and Renate Benson (exhibition catalogue: Guelph Spring Festival) Guelph, Ontario: University of Guelph, 1970 Lois Etherington Betteridge: A Tribute Exhibition with Beth Alber, Jackie Anderson, Anne Barros, Beth Biggs, Brigitte Clavette, Kye Yeon Son, and Ken Vickerson Anne MacPherson and Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2000 Bridges: Fournier/Daigneault Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1982 Canada in the Victorian Image, 1837–1887 Judith Nasby (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1975 Canadian Printmakers John Wood and Margaret E. Dryden Guelph, Ontario: University of Guelph Art Gallery, 1969 Closet Video: Teri Chmilar and Kate Wiwcharuk (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1984 P U B L I C AT I O N S

FROM

1969

TO

2016

137

Contemporary Inuit Drawings Marion E. Jackson and Judith Nasby (exhibition catalogue/book) Guelph, Ontario: Macdonald Stewart Art Centre, 1987 Contemporary Inuit Drawings/Dessins Inuit Contemporain Judith Nasby (exhibition catalogue) Abridged, bilingual version Guelph, Ontario: Macdonald Stewart Art Centre, 1989 Contingency and Continuity: Negotiating New Abstraction Judith Nasby and Ron Shuebrook (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1999 The Cultivated Landscape: An Exploration of Art and Agriculture Craig Pearson and Judith Nasby (peer-reviewed publication) Montreal, Quebec: McGill-Queen’s University Press, 2008 The English Picturesque and Dutch Landscape Prints of the Seventeenth Century Andrew Brink and Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2004 Frankenstein: Explorations in Manipulation and Surrationality Nancy Campbell, Janine Marchessault, A.L. Archibald, D.W. Burt, and J.L. Williams (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1995 German Expressionist Prints from the McMaster University Collection Judith Nasby and George Wallace (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1972 Globalization and Postcolonialism Video Adventures: The Border Susan Jane Douglas (brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 The Great Patriotic War: A Collection of World War II Soviet Propaganda Posters Robert A. Logan (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1984

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APPENDIX

2

Guelph Artists 2002 Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2002 Contemporary Inuit Drawings: The Gift Collection of Frederick and Lucy S. Herman Judith Nasby (exhibition catalogue) Williamsburg, Virginia: Muscarelle Museum of Art, College of William and Mary, 1993 The Horse in Art and Science: A History of Horse Brasses and the Ontario Veterinary College Judith Nasby (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1983 A Hostile Beauty Lynn Barbeau and Vernon Thomas (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1984 Images of War from the Bachinski/Chu Print Study Collection Jean Maddison (exhibition brochure) In conjunction with major conference titled Benjamin Britten: A Celebration Guelph, Ontario: School of Fine Art and Music, University of Guelph and Macdonald Stewart Art Centre, 2003 L’art religieux due Quebec/Religious Art of Quebec Jean Trudel (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1969 Landscape: Flemish, Dutch and French Prints in the “Golden Age” Andrew Brink and Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2006 Life Style of Our Forefathers: An Exhibition of Canadian Furniture and Furnishings from 19th Century Western Ontario Helen Ignatieff (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1971 Material Remains: Bernie Miller, Robert McNealy, Elspeth Pratt Greg Bellerby and Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1990 P U B L I C AT I O N S

FROM

1969

TO

2016

139

Microcosmos: Claudia Pellarin and Margaret Peter Lisa Fedak (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1989 Narrative in Contemporary Art Eric Cameron (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1975 New York Abstraction: A Symposium Mark Cheetham, Lydia Dona, David Moos, Linda Norden, and Raphael Rubinstein (essays) Proceedings of a symposium held 24 October 1996 Guelph, Ontario: Macdonald Stewart Art Centre, 1997 Our Common Enemy: Propaganda Posters from the University of Guelph Special Collections Gregory Klages Guelph, Ontario: Macdonald Stewart Art Centre, 1997 Perfect Speed: Six British Artists: Fiona Banner, Jacqueline Donachie, Douglas Gordon, Graham Gussin, Stephanie Smith, Sam Taylor-Wood Judith Nasby, Catsou Roberts, and Jean-Christopher Royouz (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1996 Tampa, Florida: University of South Florida Contemporary Art Museum, 1996 Cameron Porteous: Risking the Void: The Scenography of Cameron Porteous Sean Breaugh and Patricia Flood Theatre Museum Canada and University of Guelph, 2009 Printshops of Canada: Printing South of Sixty Ingrid Jenkner and Geraldine Davis (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1998 Qamanittuaq: Drawings by Baker Lake Artists from the Collection of the Macdonald Stewart Art Centre Judith Nasby (exhibition catalogue; English and Inuktitut) Guelph, Ontario: Macdonald Stewart Art Centre, 1998

1 40

APPENDIX

2

Qamanittuaq: Excerpts and Post-Script by William Noah Marion E. Jackson, Judith Nasby, and William Noah Trilingual publication: English, French, and Inuktitut Guelph, Ontario: Macdonald Stewart Art Centre, 1996 Qamanittuaq: Where the River Widens: Drawings by Baker Lake Artists Marion E. Jackson, Judith Nasby, and William Noah (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1995 Retelling Anne: Margaret Flood, Emily Gove, Bonnie Lewis, Amanda McCavour, Sasha Pierce, Cybèle Young Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2009 Rise and Fall: John Dickson and Laurie Walker Jan Allen, Wayne Baerwaldt, and Nancy Campbell (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1996 Kingston, Ontario: Agnes Etherington Art Centre, 1996 Winnipeg, Manitoba: Plug In, 1996 Realism: Structure and Illusion David Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, in association with the Burlington Cultural Centre, 1981 Second Skin: Looking at the Garden Again Anne McPherson and Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1997 Shakespeare Made in Canada Daniel Fischlin, Judith Nasby, William Hutt, Alastair J.S. Summerlee, Sue Bennett, Virginia L. Gray, Nick Craine, Lloyd Sullivan, Dawn Matheson, Pat Morden, Djanet Sears, Pat Flood, Sorouja Moll, Leanore Lieblein, Yvette Nolan, Marion Gruner, Lorne Bruce, and Lorna Rourke (publication) Guelph, Ontario: Macdonald Stewart Art Centre, 2007

P U B L I C AT I O N S

FROM

1969

TO

2016

141

Site Memory: Contemporary Art from Canada Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1991 Sommer Collection: Forty Years of Collection Judith Nasby, Chandler Kirwin, John Sommer, and Rudolf Bikkers Guelph, Ontario: Macdonald Stewart Art Centre, 2002 Songs for Others Ehryn Torrell, Annelore Schneider (limited edition cd ) Guelph, Ontario: Macdonald Stewart Art Centre, 2001 Spectacle + Artiface: Robyn Cumming, Janieta Eyre, Natascha Niederstrass, Carlos and Jason Sanchez, Reece Terris, Elena Willis Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2008 Speed: Visions of an Accelerated Age Nancy Campbell and Jeremy Millar (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1998 London, uk : Whitechapel Gallery, 1998 London, uk : The Photographer’s Gallery, 1998 Birmingham, uk : icon , 1998 Glasgow, Scotland: Tramway, 1998 The Ontario Heritage Foundation: Stewart and Letty Bennett Collection Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1984 Subjects and Objects: Contemporary Sculpture Ingrid Jenkner (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1985 The Test Tubes Reinhard Reitzenstein, Jacques Israelievitch, Jesse Stewart, and Gayle Young (limited edition cd ) Guelph, Ontario: Macdonald Stewart Art Centre; Uxbridge, Ontario: Line Spool, 1997

142

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2

Threading through Wellington Ralph Beney (exhibition brochure) Guelph, Ontario: Macdonald Stewart Art Centre, 1990 The University of Guelph Art Collection Judith Nasby (catalogue of paintings, drawings, prints, and sculpture) Guelph, Ontario: University of Guelph, 1980 University of Guelph Department of Fine Art Print Study Collection: A Selected Exhibition from the Collection Sue Daugherty (Acting Curator, Print Study Collection) Guelph, Ontario: Macdonald Stewart Art Centre, 1994 University of Guelph Fine Art Graduates Judith Nasby (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1989 University of Guelph Fine Art Faculty: Celebrating 20 Years, 1965–1985 George Todd (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1985 Video Circuits Eric Cameron and Judith Nasby (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1974 Video Circuits II Paul Hess (exhibition catalogue) Guelph, Ontario: Students Gallery, 1974 The View from Here: New Landscape: Melissa Doherty, Ann Marie Fleming, Sarah Anne Johnson, Alex McLeod, Xiaojing Yan Dawn Owen (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 2012 Visitors, Exiles and Residents: Guelph Artists since 1827 Judith Nasby (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1977

P U B L I C AT I O N S

FROM

1969

TO

2016

1 43

A Visual Bestiary: Animals in Art Megan Bice (exhibition catalogue) Guelph, Ontario: Macdonald Stewart Art Centre, 1984 Youth Art 73 (exhibition brochure) Guelph, Ontario: University of Guelph Art Gallery, 1973 19th and 20th Century Paintings from the Art Gallery of Hamilton Judith Nasby (exhibition catalogue) Guelph, Ontario: University of Guelph Art Gallery, 1974

144

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2

APPENDIX 3

Exhibitions from 1952 to 2016

CAMPUS EXHIBITIONS 1952

February

Nicholas Hornyansky: Prints, Massey Library 1956

April June

Gordon Couling: Paintings, Oils and Watercolours, Massey Hall Peter Goetz: Watercolours, Macdonald Institute Ten Guelph Women Painters, Massey Hall

July September

Evan Macdonald: Paintings, Macdonald Institute Summer Drawings by Gordon Couling, Macdonald Institute

October November

James Gordaneer: Drawings and Watercolours from Mexico Recent Acquisitions, Macdonald Institute John Bennett: Paintings, Macdonald Institute

December

Portraits by Paul Buchanan, Macdonald Institute Small Pictures: Ontario Society of Watercolours, Macdonald Institute 1957

January February March May June October

5 Counties Teacher’s Council, Massey Hall C.W. Jeffreys: Drawings, Massey Hall Gordon Couling: Recent Work, Massey Library Walter Phillips: Watercolours, Macdonald Institute Canadian Society of Painters in Watercolour Paul Buchanan: Paintings, Massey Library 5 Counties Juried Show Small Pictures: Ontario Society of Artists, Massey Hall Chinese Paintings, from the collection of A. De Vos, Massey Library Metal Guild of Toronto, Macdonald Institute

November

Canadian Painter: Etchers and Engravers Society Annual Exhibition, Massey Hall Canadian Society of Creative Leathercraft, Macdonald Institute Textile Block Prints by Arnfield-Pissano, Macdonald Institute Student Work of the Visual Arts Society

December

Kingston Group, Massey Hall Dutch Crafts from the A. De Vos Collection, Massey Library Handweavers and Spinners Guild, Macdonald Institute 1958

January

Western Printmakers: Edmonton Region, Massey Hall Yosef Drenters: Sculpture, Massey Library Student Paintings from McMaster University, Massey Hall European Graphics, Greenwich Galleries, Massey Hall Stoneware Pottery by Tesse Kidick of Jordan, Macdonald Institute William Muysson: Paintings, Massey Hall

February March April May June

5 Counties Painters, Macdonald Institute Nina Von Stryk: Watercolours, Massey Hall Canadian Housing Photographs: Design Council 1958 Awards, Massey Hall

September

Figure Studies from the 19th and 20th Centuries, Massey Hall Drawings from the National Gallery of Canada, Massey Hall

October

“What Is Modern Painting?” Museum of Modern Art, New York, Massey Hall European Graphic Posters, Massey Hall

November

Annual Show of the Canadian Society of Painters, Etchers and Engravers, Massey Hall Canadian Guild of Potters, Macdonald Institute British Graphics, Massey Hall Maxwell Bates and Jack Humphries: Paintings, Massey Hall

December

1959

April/May

Painters Group, Guelph Creative Arts Association Juried Exhibition, Massey Hall Picasso’s Vollard Suite, Massey Hall Harold Muller: Metalwork, Macdonald Institute Oreen Campbell: Paintings, Macdonald Institute Alvin Hilts: Sculpture, Macdonald Institute

December

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3

1960

February

Serigraphs by Montreal Artists, Massey Hall

March May

Sculptors Society of Canada, Macdonald Hall Peter Goetz: Watercolours, Macdonald Institute Pictures the Faculty Pick, Macdonald Hall

September

Tony Urquhart: Watercolours and Woodcuts, Massey Hall Textiles from the 17th to the 19th Century, Massey Hall 1962

July

Animals in Art: Paintings and Prints, Ontario Veterinary College

October

Photographs: Housing in Canada, Macdonald Institute

May

Grace Coombs: Watercolours, Macdonald Hall 1963

January February

A.D. Robb: Watercolours, Macdonald Institute Corbett Grey: Paintings, Macdonald Institute

October

Student Art Show: Arts Society, Massey Hall 1966

February

Oils and Watercolours by Ann Macintosh Duff, Julius Griffith and Peter Kolisnyk, Macdonald Institute

April

Clarence Gagnon: Retrospective, Kitchener–Waterloo Art Gallery, 7–28 February 1966 Harold Town: Prints and Large Drawings, Macdonald Institute, with the

July

University of Waterloo Art Gallery, 11–30 April 1966 Paul Buchanan: Drawings and Paintings, Macdonald Institute, 2 July–6

November December

August 1966 African Sculpture, National Gallery of Canada, 18 November–11 December 1966 Alex Colville, National Gallery of Canada, 16 December 1966–4 January 1967 1967

February March April

Daniel Fowler: Retrospective, with the Kitchener–Waterloo Art Gallery, 3–26 February 1967 Quebec and Ontario Contemporary Painters, Macdonald Institute, 10–26 March 1967 Robert W. Pilot: Retrospective, with the Kitchener–Waterloo Art Gallery, 7–30 April 1967 EXHIBITIONS

FROM

1952

TO

2016

147

September October

Faculty Exhibition, 8–29 September 1967 Form, Sculpture and Motion, 6 October–12 November 1967Miserere Prints

November

by Rouault, 15 October–5 November 1967 Emily Carr, with the University of Waterloo Art Gallery, 17 November–17 December 1967 British Columbia Painters, 26 November–17 December 1967

UNIVERSITY OF GUELPH ART GALLERY (MACKINNON BUILDING) EXHIBITIONS 1968

January February March

Jean-Paul Riopelle, 5–28 January 1968 University of Guelph Student Exhibition, 2–24 February 1968 Albert H. Robinson Retrospective, 3–31 March 1968 Massey Medal Awards in Photography, 3–24 March 1968

April May

The Figure in Art: Past and Present, 5–28 April 1968 Young Contemporaries, 3–26 May 1968 University Collection, 31 May–30 June 1968

September November

Street Photography, National Film Board Photographs of Ghana: Michael Semak, National Film Board

December

Doris Mendoza Wyman: Paintings 1969

January February

The Armstrong Collection of Canadian Art Magic Realism in Canada, with the University of Waterloo

March May June September

Art Gallery Canadian Printmakers Religious Art of Quebec, from the collection of Musée du Québec Sorel Etrog: Bronze Sculptures, Art Gallery of Ontario Canadian Paintings of the 60s, Art Gallery of Ontario Evan Macdonald: Paintings

October November December

Art Nouveau, Art Gallery of Ontario Paul Fournier: Paintings and Graphics, 1962–1969 Cartoon and Caricature: 1849–1967, Art Gallery of Ontario 1970

January 148

APPENDIX

Fine Art Faculty 1970 3

February March

The Many Worlds of Lutz Dille, National Film Board Leon Berkowitz: Paintings

April May

Second Annual Student Jury Show Beethoven: The Man and His Time Rodin and His Contemporaries, from the collection of Rothmans

June July July/August September

of Pall Mall Canada Treasures from Guelph Homes University Collection George Wallace: Sculpture Student Prints

October

The War: Etchings by Otto Dix

November

Gifts from Douglas M. Duncan Collection, National Gallery of Canada Objects from India, Indian Students Association (showcase exhibition) Ding Hwin Young

December

Ann Knox, Ron Eccles, Chris Woods (three University of Guelph students) Student Projects from the Media of Art History Course (showcase exhibition) Implements of Chinese Brush painting (showcase exhibition) Rare Books from McLaughlin Library (showcase exhibition)

UNIVERSITY OF GUELPH ART GALLERY (MCLAUGHLIN LIBRARY) EXHIBITIONS 1971

January

February

Student Drawings Literary Exhibition on A. Solzhinitsyn (showcase exhibition) Objects Collected by cuso Members from Caribbean, Ghana and Indonesia (showcase exhibition) Student Paintings (showcase exhibition) Lesotho Tapestries (showcase exhibition) 3D into the 70s, Art Gallery of Ontario Anatomy Drawings by Fine Art Students Student Sculpture

EXHIBITIONS

FROM

1952

TO

2016

149

March/April

John Elderfield 18th Century Georgian Drinking Glasses, from the collection of Dr and Mrs Terry Williams (showcase exhibition) Life Style of Our Forefathers, on loan from the Royal Ontario Museum Canadiana Gallery Dürer and his Contemporaries, National Gallery of

May

Canada Photographs by Student Members of the Photo-Directorate (showcase exhibition) The Tools and Techniques of Engraving and Woodcutting (showcase exhibition) June

Contemporary French Tapestries, from the collection of Rothmans of Pall Mall Canada Sir Walter Scott Literary Exhibit, British Council (showcase exhibition) Domestic Articles from Borneo, from the collection of Dr Tong (showcase exhibition) Selections from the University Archives (showcase exhibition) How a Tapestry Is Made (showcase exhibition) Yorkshire Printmakers, Nancy Poole Studio St Francis of Asisi and Brother Leo Meditating on Death by El Greco,

October

National Gallery of Canada Henry Moore, British Council

November

British Theatrical Prints, Playbills and Posters (18th and 19th Century), on loan from Dr M. Booth and Professor D. Mullin, Guelph English Delft Pottery, from the collection of Dr and Mrs D.H. Stott December

Prints from the Nova Scotia College of Art and Design, National Gallery of Canada 1972

January February March

Fine Art Faculty 1972 Roy Ascott: Reliefs and Table Pieces The Norman C. Wallace Collection of Horse Brasses Signs and Symbols, Art Gallery of Ontario

April May

Fourth Annual Student Jury Show German Expressionist Graphics, from the McMaster University Art Collection, 1–24 May 1972 5 Years of Robert Downing, 1966–1971, Robert McLaughlin Gallery, 10 June–2 July 1972 Chinese Jades, from the Royal Ontario Museum, 2–31 July 1972

June July 150

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3

September

Marcel Duchamp Readymades, Etc., National Gallery of Canada, 11 September–3 October 1972

October

Joyce Wieland Independent Canadian Art Show, 13 October–2 November 1972 Realism: Emulsion and Omission, Agnes Etherington Art Centre, 8 Novem-

November December

ber–3 December 1972 Ontario Veterinary College, 50 Years in Guelph, 8 December 1972–7 January 1973 Photography 1845–1970, 12 December 1972–30 January 1973 1973

January February March

April May

Comic Art Traditions in Canada, National Gallery of Canada, 9 January–13 1973 Fine Art Faculty Show, 7–28 February 1973 Selections from the University of Guelph Collection, 9–28 March 1973 Fifth Annual Student Jury Show, 5–26 March 1973 Hugh Salvin Calverley, Pastels and Drawings, 30 March–22 April 1973 Youth Art ’73, 29 April–13 May 1973 James Ensor, organized within the terms of the Canada-Belgium Cultural Exchange Program by the Belgium Ministry of National Education and Flemish Culture, in collaboration with the National Gallery of Canada,

June

6 May–3 June 1973 Chicago Paintings of the 1960s, National Gallery of Canada, 7 June–4 July 1973

September October

Gifts from Alumni and Friends, 30 September–12 October 1973 Jim Dine Graphics, Owens Art Gallery, 24 October–28 November 1973

December

Students Behind the Camera, 7–28 December 1973Video Circuits, 5 December 1973–2 January 1974 1974

January

Paul Fournier’s Mushroom Series, 9 January–1 February 1974 Ma Shiu Yu: Chinese Brush Paintings, 8–29 January 1974

February

Open Studio Prints, 26 February–17 March 1974 Sixth Annual Student Jury Show, 26 February–17 March 19th Century Canadian Glass, from the collection of Professor Charles T. Corke, 18 March–22 April 1974 H.A. Hochbaum: Drawings, 28 March–3 April 1974 Permanence and Change: Photographs by David Nasby, 5–23 April 1974

March

April

EXHIBITIONS

FROM

1952

TO

2016

15 1

May

19th and 20th Century Canadian Paintings from the Art Gallery of Hamilton, 28 April–30 May 1974 Youth Art ’74, 28 April–20 May 1974 Victoria’s World, University of Texas, 5–20 June 1974 Highlights from the Permanent Collection of Canadian Art, 7 July–15

June July

September 1974 Ontario Agricultural College Centennial Exhibition: Photographs and Artifacts, 7 July–15 September 1974 19th Century Hand Tools Used by Ontario Farmers and Tradesmen, 7 July–5 September 1974 September

Ontario Quilts from the Weinstein Collection, 20 September–30 October 1974

November

The Imaginary Portrait: Paintings by Herta Muysson, Agnes Etherington Art Centre, 20 September–30 October 1974 Alex Colville: Paintings, Drawings and Serigraphs, from the collection of Dr Helen Dow, 5–25 November 1974 The W.H. Coverdale Collection of Canadian Paintings, Drawings and Prints, Public Archives of Canada, 10 November–1 December 1974 University of Guelph Printmaking Workshop Study Collection, 28 November 1974–5 January 1975 1975

January February

Fine Art Faculty Exhibition, 15 January–5 February 1975 Contemporary Photography Since 1950, George Eastman House, 8 February–27 March 1975

March

Annual Student Jury Show, 4–25 March 1975 Anatomy Drawings, 19–26 March 1975

April

John Chalmers Photographs, 5–22 April 1975 Youth Art ’75, Wellington County Catholic School Board, 17 April–14 May 1975 Made in Canada, 27 April–22 May 1975 Canadian Treasures from the Art Gallery of Hamilton, 28 April–30 May 1975 Canada In the Victorian Image 1837–1887, 3–22 June 1975

June

Candy Floss and Lion Tamers, 28 June–24 August 1975 New Acquisitions: Editions 1–Prints from the Ontario Arts Council, 28 June– 28 September 1975 Quebec and Its Environs, Public Archives of Canada, 10–28 September 1975 Artifacts from Anglican Churches in Wellington Deanery, 28 September–15 November 1975

September

152

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3

October November

Coalface 1900, 1–27 October 1975 Narrative in Contemporary Art, 1–30 November 1975

December

Tibetan Art, 21 November 1975–8 January 1976 Art by Women and Art About Women from the Permanent Collection, 6 December 1975–4 January 1976 1976

January February

Major Saskatchewan Artists, Mendel Art Gallery, 8–30 January 1976 Eugene Atget and Ralph Gibson, George Eastman House, 11 February–4 March 1976

March

Eight Annual Student Jury Show, 1–28 March 1976

April

Magic Lantern, 1 March–21 April 1976 Magic Village, 1 March–21 April 1976 Student Anatomy Drawings, 1–18 April 1976 Black African Ritual Sculpture, Montreal Museum of Fine Arts, 1–18 April 1976 Toward a New Theatre: Edward Gordon Craig and Hamlet, National Gallery of Canada, 23 April–30 May 1976 The Canadian Wildflower Quilt, 23 April–30 May 1976 Youth Art 1976, Wellington County Board of Education and Separate School Board, 24 April–16 May 1976

May June September

October

November December

The Guelph Spring Festival Autograph Quilt, 28 April–5 May 1976 Norman C. Wallace Collection of Horse Brasses, 20 May–20 August 1976 Selections from the Permanent Collection, 5 June–29 August 1976 Chimera Gallery Artists, 4–30 September 1976 Pacific Coast Consciousness, Robert McLaughlin Gallery, 14 September–29 October 1976 Prints of Heriot, Bouchette and Bartlett, 4 October–10 November 1976 Makonde and Mawia Sculptures, 22 October–19 November 1976 Fine Art Faculty Show, 22 October–25 November 1976 Pottery Work of Paula Marsden, 13 November–17 December 1976 Ontario Community Collects, 3 December 1976–2 January 1977 1977

January

February

Pertaining to Space: Robert Sinclair Paintings, Art Gallery of Ontario, 5 January–1 February 1977 The Elora Printmakers, 8 January–10 February 1977 On View, Visual Arts Ontario, 6–24 February 1977 EXHIBITIONS

FROM

1952

TO

2016

153

Chinese Students Art Exhibition, 14–17 February 1977 First Epistle to Dr Torr: An Exhibition about the Production of a Hand Printed, Hand Bound Volume by Peter Taylor, 19 February–10 March 1977 Ninth Annual Student Jury Show, 28 February–26 March 1977 Drawings and Watercolours from the Canada Council Art Bank, 2–29 March

March

April

1977 Guelph Photographers, 15 March–9 April 1977 Three American Photographers, George Eastman House, 2–28 April 1977 Youth Art 1977, Wellington County Board of Education, 18 April–21 May 1977

May

Visitors, Exiles and Residents: Guelph Artists Since 1827, 5 May–17 July 1977

June July

Photographs by Carol Pershyn, June1–18 August 1977 Underwater Photography by Lyn Nelson, 23 July–18 August 1977 A.A. Kingscote: Collection of Chinese Scrolls, 25 July–7 September 1977 Contemporary Canadian Indigenous Art and Crafts, 12 September–16 October 1977

September

Ojibway Legend Paintings by Richard Bedwash, 12 September–16 October 1977 Sculptures by Andreas Drenters, 24 September–26 October 1977 October

Selecting and Collecting: Recent Acquisitions to the University Collection, 22 October–27 November 1977

November December

Hazel Runions: Silkscreens, 8 November–7 December 1977 Bachinski: A Decade–A Retrospective Exhibition of the Works by Walter Bachinski from 1966–1976, Kitchener–Waterloo Art Gallery, 6 December 1977–1 January 1978 Paintings and Metal Work by Harold Muller, 10 December 1977–11 January 1978 1978

January

Contact: Retrospective of Quebec Photography, 9 January–February 1978 Exhibit of Chinese Celadons from the Royal Ontario Museum, 14 January–21 February 1978

February

The Toronto Show, 8 February–1 March 1978 Coleman Collection of Musical Instruments, Part I, 25 February–18 March 1978 Tenth Annual Student Jury Show, 26 February–30 March 1978 Success in Influencing Pigs and Fishes: Perspectives on the Work of Bruce Parsons, 8 March–2 April 1978

March

154

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3

April

May

June

The Sculpture of Sophia Hungerford, 1–26 April 1978 New Testament Narratives, 8–30 April 1978 Youth Art, Wellington County Board of Education, 18 April–21 May 1978 Coleman Collection of Musical Instruments, Part II, 4–31 May 1978 The Graphic Work of Felix Vallotton, National Gallery of Canada, 5 May–11 June 1978 Lesotho Tapestries, 5 June–10 September 1978 Lillian Freiman: Paintings and Drawings, Agnes Etherington Art Centre, 17 June–23 August 1978 Frances Loring and Florence Wyle Sculptures, 17 June–4 September 1978

July

Selected Prints from the University Collection, 17 July–31 August 1978

September

Lifelines, 11 September–3 October 1978 Iraqi Art and Artifacts, 15 September–30 October 1978 Selected Drawings: The Figure, 12 October–22 November 1978 African Art and Crafts, 1–25 November 1978 Carl Heywood: A Retrospective, 29 November 1978–10 January 1979

October November December

Student Photographs, 1 December 1978–2 January 1979 1979

January

Microscapes by P. Sweeney, 3 January–1 February 1979 Harry Callahan: City, George Eastman House, 15–30 January 1979

February

Plants in Art through the Centuries, Hunt Institute for Botanical Documentation, 2–23 February 1979 Solar Eclipse: Examples and Explanation, 3 February–7 March 1979

March

11th Annual Student Jury Show, 1–15 March 1979 Underwater Photography by Lyn Nelson, 9–30 March 1979 Mark Grenville and Ian McKay: Paintings and Drawings, 30 March–25 April 1979

MACDONALD STEWART ART CENTRE EXHIBITIONS 1980

April November

Klamer Family Collection of Inuit Art, Art Gallery of Ontario, 25 April–25 May 1980 Selections from the Canadian Collection, 7 November 1980–11 January 1981

EXHIBITIONS

FROM

1952

TO

2016

155

1981

January

Second Canadian Biennale of Prints and Drawings, National Gallery of

February March

Canada, 15 January–15 February 1981 Robin Hopper: Explorations within a Landscape, 20 February–15 March 1981 Bruce St Clair: Paintings, 20 May–26 April 1981 Caven Atkins, 20 March–26 April 1981 Ketubah: The Jewish Marriage Contract, Art Gallery of Ontario, 8–26 April 1981 Realism: Structure and Illusion, with the Burlington Cultural Centre, 30 April–14 June 1981

April

May

Inuit Art, 1 May–20 July 1981

June

American Art through Printmaking, Western Association of Art Museums, 19 June–19 July 1981 Permanent Collection Selections, 19 June–30 November 1981 Will Ogilvie: War Artist, National Museum of Man, 19 July–30 August 1981 Lapsed Time… Time Removed, Phoenix Artists, 23 July–30 August 1981

July

Ribbons: Sculptures by Armand Buzbuzian, 20 July–30 October 1981 A Feast of Colour: Corpus Christi Dancers of Ecuador, sites , 5 September– 11 October 1981

September

Grupo Piru, Smithsonian International Programs, 4–30 September 1981 John Chalmers: Exotica, 3 October–4 November 1981

October

Painters 11 in Retrospect, Robert McLaughlin Gallery, 16 October–22 November 1981 Small Survey of the Permanent Collection, 1 October–30 December 1981 November

Judy Coxe: Vital Signs, 7 November–9 December 1981 Ivan Eyre Exposition, Robert McLaughlin Gallery, 27 November 1981–10 January 1982 Baker Lake: New Acquisitions, November 1981–May 1982 Selections from the Permanent Collection, 10 December 1981–10 January 1982 Know What You See, sites , 12 December 1981–10 January 1982

December

1982

January

The Comfortable Arts: Traditional Spinning and Weaving in Canada, National Gallery of Canada, 16 January–14 February 1982 Ken Danby: The Graphic Work, Art Gallery of Hamilton, 20 February–28 March 1982 Prints by Otis Tamasauskas, 20 February–28 March 1982

February

156

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3

April

Ontario Crafts Council Jury Show, 2–25 April 1982 Viewpoints: Annual Juried Exhibition, 2–25 April 1982 Permanent Collection, 2–25 April 1982 Bridges: A Collaboration between Paul Fournier and Robert Daigneault, 29 April–30 May 1982

June

Outdoor Sculpture, Turvey, Zelenak, Davies, 1 May 1982–30 September 1984 Doug Bentham: Sculpture, 1 May 1982–1 June 1983 Posters from Lithuania, The Artists Centre, 3 June–10 August 1982 Michael Collins, 5 June–4 July 1982 Permanent Collection: A Survey, Ontario and Western Canada since 1960, 5 June–10 August 1982

July August

September October

Masters of Photography, 5 June–4 July 1982 Inuit Art from the Permanent Collection, 5 June–3 October 1982 Ian McKay: Paintings and Drawings, 9 July–10 August 1982 Town and Cityscapes, 12 August–3 October 1982 World Print III, World Print Council, 14 August–12 September 1982 Small Works from the 1930s, 40s and 50s, 14 August–10 October 1982 Canada in the Graphic Arts, National Gallery of Canada, 17 September–17 October 1982 A Tribute to David Milne, 9 October 1982–23 January 1983 The Permanent Collection, 9 October 1982–20 February 1983 Eliyakota’s Birds, 13 October 1982–20 February 1983 Inuit Drawings and Prints, 16 October 1982–April 1983 Circa 1800, Western Association of Art Museums, 21 October–21 Novem-

November

December

ber 1982 Selections from the Permanent Collection, 24 November 1982–6 February 1983 Canada Packers Collection, Art Gallery of Ontario, 20 November–19 December 1982 Barry McCarthy: Watercolours, 26 November 1982–16 January 1983 Paul Beau, Montreal Museum of Fine Arts, 17 December 1982–6 February 1983 Yosef Drenters: Images of the Madonna, 23 December 1982–6 February 1983 David H. Kaye: Engaged Reliefs, 23 December 1982–6 February 1983 1983

February

James Kerr-Lawson: A Canadian Abroad, Art Gallery of Windsor, 10 February–May 1983 EXHIBITIONS

FROM

1952

TO

2016

15 7

Regional Artists, Permanent Collection, 12 February–May 1983 New Acquisitions, 19 February–June 1983 Contemporary Graphics from Permanent Collection, 21 February–30 March 1983 Viewpoints: Annual Juried Exhibition, 25 March–24 April 1983

March

April

Paintings of Imperial and Princely India, National Gallery of Canada, 25 March–24 April 1983 Contemporary Sculpture, 28 April–5 June 1983 Images of the Hunt, Inuit Drawings, 28 April–14 September 1983 Masterworks, Permanent Collection, April 1983–6 January 1984

May

James Kerr-Lawson: World Traveller, 1 May–3 July 1983 A.Y. Jackson: The Early Years, National Gallery of Canada, 1 May–5 June 1983 Stephen Cruise: Desserts… A Working Title, 1 May–5 June 1983 Major Contemporary Paintings: Permanent Collection and Loans, Bush, Knowles, De Niverville, 4 June–24 July 1983

June

The Horse in Art and Science, 4 June 1983–8 January 1984 Eric Snell: Magnetic Sculpture, 11 June–24 July 1983 Stephen Livick: Photographs, 11 June–24 July 1983 July

Exploring Early Canada, 5 July 1983–27 March 1984 Gene Chu: Prints, Kitchener–Waterloo Art Gallery, 30 July–28 August 1983 Max Klinger: The Graphic Work, Art Gallery of Ontario, 30 July–28 August 1983 Quilts from the McKendry Collection, National Museum of Man, 3 Septem-

September

ber–16 October 1983 On Site: Kosso Eloul and His Students, 17 September 1983–8 January 1984 October

The Morrice Collection, Montreal Museum of Fine Arts, 22 October–4 December 1983 Alan Weinstein: Twenty Years, 10 December 1983–13 January 1984

December

1984

January

Large Contemporary Paintings and Sculpture from the Permanent Collection, 14 January–25 March 1984 A Hostile Beauty, 14 January–13 June 1984 The Hand Holding the Brush, London Regional Art Gallery, 20 January–26 February 1984 The Ontario Heritage Foundation: Stewart and Letty Bennett Collection, 2 March–29 May 1984

March

158

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3

Selections from the Permanent Collection, 2 March–22 April 1984 Viewpoints: Annual Juried Exhibition, 30 March–22 April 1984 April June

July

K.M. Graham: Paintings and Drawings 1971–1984, 28 April–5 June 1984 Latitudes and Parallels, 1 June–8 July 1984 Mark Grenville: A Continuing Dialogue, 10 June–10 July 1984 Recent Canadian Paintings, 10 June–30 September 1984 Don Wright: Coastal Images, 21 June–3 September 1984 Horse Brasses and Art about Horses, 9 July–23 September 1984 Norval Morrisseau and Ojibwa/Cree Traditions, 10 July 1984–6 January 1985 Celebration, 15 July–26 August 1984 Historical Paintings, 15 July 1984–20 January 1985

September

October

Meaningful Drawings, 1–30 September 1984 Werner Zimmermann: The Blue Hill, 1–30 September 1984 Heather Daymond: New Porcelain and Stoneware, 8 September–16 December 1984 Canada Mikrokosma, 6 October–11 November 1984

November December

A Visual Bestiary, 17 November 1984–27 January 1985 J.C. Heywood: The Magic and the Mundane, 22 December–21 April 1984 1985

January

Soviet Propaganda Posters from the Library’s Special Collections, January

March

10–30 May 1985 Video Survey, 10 January–21 April 1985 Viewpoints: Annual Juried Exhibition, 22 March–21 April 1985

April

Folk Treasures of Ontario, 23 March–21 April 1985 Dené Women’s Art, 6 April–30 June 1985

June

August September

Subjects and Objects: Sculpture by Jane Buyers, Magdalen Celestino, Cynthia Short, and Robert Wiens, 27 April–16 June 1985 Works of the 19th and Early 20th Centuries from the Permanent Collection, 1 June–2 October 1985 The Stewart Donnell Collection of Inuit Prints, June 1985–February 1986 Barry Hodgson: Landscapes, 22 June–4 August 1985 Arthur Handy: Ceramic Sculpture 1963/65 and 1985, 22 June–4 August 1985 Chinese Traditional Painting, China Exhibition Agency, 9 August–15 September 1985 Victorian and Edwardian Works from the Collection, 7 September 1985–5 January 1986 A Taste of the 18th Century: Decorative Arts from the Seagram Museum EXHIBITIONS

FROM

1952

TO

2016

159

Collection, 21 September 1985–17 November 1986 Walter Bachinski: Drawings, Reliefs and a New Outdoor Sculpture, 21 September–17 November 1985 Vincent Tangredi: Recent Frescoes and Sculpture, 21 September–17 November 1985 1986

January

Works of Craft: The Massey Collection, 11 January–16 February 1986 John Hartman: Colour Drypoint Engravings, 11 January–23 February 1986 Barry McCarthy: Drawings and Watercolours, 21 February–23 March 1986

February

New Acquisitions and Loans to the Inuit Collection, February–March 1986 March

Body Language: Cybernetic Installation by David Rokeby, 1 March–13 April 1986 Viewpoints: Annual Juried Exhibition, 27 March–20 April 1986 Contemplative Scenes: The Landscapes of Ozias Leduc, Montreal Museum of Fine Arts, 18 April–19 May 1986

April

Indigenous Art from the Permanent Collection, 26 April–19 May 1986 Evan Macdonald: A Retrospective, 26 April–22 June 1986 Canadian Painting Since the 1960s, 1 May 1986–January 1987

May

Apple Staff and Silver Crown: Book Illustrations by Nancy-Lou Patterson, 4 May–22 June 1986 Art by Students of Wellington County, 24 May–22 June 1986 Lightmare: Sculpture by Cynthia Short, June 1986 Traditional and Contemporary Overshot Weaving, 27 June–24 August 1986

June

Ralph Beney: Fabrications, 27 June–1 September 1986 Contemporary Prints, 19 July 1986–January 1987

July August September

Michel Lambeth Retrospective, 31 August–12 October 1986 The Florence G. Partridge Gift, 6 September 1986–January 1987 Paul Hess: As Much as You Think, 6 September–19 October 1986 The Romantic Landscape Now, 18 October–23 November 1986 International Shoebox Sculpture, 25 October–23 November 1986 Viktor Tinkl’s Apple Juice Can Parade, 6 December 1986–26 January 1987

October December

1987

January February

160

APPENDIX

Viewpoints: Annual Juried Exhibition, 30 January–1 March 1987 Weegee, 14 February–22 March 1987 New Inuit Acquisitions, February–April 1987

3

March April

Printshops of Canada, 7 March–19 April 1987 Ken Danby: A Tribute to 25 Years, 25 April–12 July 1987

June

Liturgical Manuscripts of the Middle Ages, Montreal Museum of Fine Arts, 6 June–5 July 1987 Light and Realism in 19th Century Art, 6 June–18 October 1987

July August September

Large Contemporary Paintings, 6 June–18 October 1987 Landscapes of the Mind: Images of Ontario, Art Gallery of Ontario, 18 July–30 August 1987 Dana Bentley: The Liars, 29 August–20 September 1987 Augustus John: The Marchesa Casati, Art Gallery of Ontario, 25 September–18 October 1987

October

November December

First Impressions: Japanese Prints of Foreigners, University of Hawaii, 24 October–29 November 1987 Rick Simon: Printed Matter, Glendon Gallery, 25 October–November 19. 1987 Contemporary Inuit Drawings, 8 November 1987–7 February 1988 Site and Structure: Tony Urquhart and Robert Wiens, 5 December 1987–21 February 1988 1988

January

Alma Duncan and Men at Work, Robert McLaughlin Gallery, 9 January–13

February

March 1988 Snow and Company from the Permanent Collection, 13 February–3 April 1988 Snow, Weiner, Nanucci, Art Metropole, 20 February–3 April 1988 Thomas Moran’s Watercolours of Yellowstone, Gilcrease Museum, 27 Febru-

March April

May June

July

ary–10 April 1988 Canadian Realists from the Permanent Collection, 17 March–12 July 1988 Viewpoints: Annual Juried Exhibition, 8 April–15 March 1988 The Phantom of the Opera, Toronto Society of Architects, 16 April–5 June 1988 Putting it Back Together: Preserving the Performing Arts Heritage, 21 May–10 July 1988 Inuit Games, Origins, Cleveland, 11 June–10 July 1988 Inuit Art from the Collection, 11 June–20 November 1988 The F.N. Jerome Gift, 18 June–3 August 1988 Shikata ga nai, Hamilton Artists, 16 July–28 August 1988

EXHIBITIONS

FROM

1952

TO

2016

161

September October

Analogous Structures: Baden, Collyer, Gehr, 3 September–16 October 1988 Arthur Hughes: Lady with Lilacs, Art Gallery of Ontario, 15 October–13 November 1988 Guerilla Tactics: A Space, 15 October–20 November 1988 100 Years of Alice, 15 October 1988–2 March 1989 Jack Bush: Paintings and Drawings, 22 October–20 November 1988 Tom Benner: Tribute to Nahneebahweequay, 19 November 1988–15 January 1989 Visual Variations: African Sculpture, Agnes Etherington Art Centre, 25 November 1988–15 January 1989

November

Janet Cardiff: Tableau, 25 November–15 January 1989 1989

January March

University of Guelph Fine Art Graduates, 21 January–26 February 1989 Viewpoints: Annual Juried Exhibition, 2 March–9 April 1989 Arnaud Maggs: Numberworks, 4 March–2 April 1989 Sculpture by Sophia Hungerford, 10 March–28 May 1989 Stephen Hogbin: Painted Reliefs, Tom Thomson Memorial Art Gallery, 8 April–14 May 1989

April

Better Living: Don Carr, 15 April–4 June 1989 Arthur Handy: Ceramic Sculpture, 17 April–10 May 1989 May June

Stacey Spiegel: Chimera, 20 May–16 July 1989 Sculpture from the Bensen Collection of Inuit Art, 20 May–September 1989 Youth Art: Wellington County Schools, 1–25 June 1989

July

Alumni Sponsored Art from the Collection, 10 June–27 August 1989 Figure and Gestures, 1 July–27 August 1989 George Bernard Shaw on Stage, 1 July–27 August 1989 The Art of Botany, sites , 22 July–20 August 1989 Signs: An Exhibition of Critical Photography, Art Gallery of Ontario, 2 September–1 October 1989 Dada in Cologne, Art Gallery of Ontario, 2 September–1 October 1989 Microcosmos: Prints by Pellarin and Peter, 8 October–28 November 1989

September

October

Contemporary Art in Manitoba, Winnipeg Art Gallery, 8 October–29 November 1989 Jan Peacock: Nuit Blanches, 2 December 1989–7 January 1990 Cheryl Ruddock: Girl Colours, 2 December 1989–7 January 1990

December

1 62

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3

1990

January

From Site to Sight: Anthropology, Photography and the Power of Imagery,

sites , 6 January–18 February 1990 The Connoisseur Within, Montreal Museum of Fine Arts, 13 January–11 February 1990 February

March

Lois Etherington Betteridge, Silversmith: Recent Work, Hamilton Art Gallery, 15 February–8 April 1990 Viewpoints: Annual Juried Exhibition, 16 February–22 April 1990 County Artists, 21 February–15 April 1990 The Andrew Smith Papers, 23 March–22 April 1990

April

Yosef Drenters: A Lifetime of Drawing, 21 April–10 June 1990

May

Roland Poulin: Sculpture, 28 April–17 June 1990 Robert Hedrick: Paintings, 28 April–24 June 1990 Samuel Beckett Teleplays, Vancouver Art Gallery, 5 May–3 June 1990 19th and 20th Century Paintings from the Collection, 23 June–19 August 1990

June

Threading through Wellington: A Fibre Survey, 23 June–19 August 1990 Michael Torosian: The Toronto Suite, Canadian Museum of Contemporary Photography, 30 June–9 September 1990

July August

Western Works from the Collection, 21 July–28 October 1990 À Propos d’une Peintures des Années 60, Musée d’art contemporian de

September

Montreal, 25 August–23 September 1990 Art and Objecthood from the Permanent Collection, September–December 1990

November December

Ron Shuebrook Paintings, 29 September–25 November 1990 Confrontations of Form, Art Gallery of Ontario, 2 November–2 December 1990 Sheila Ayearst, 2 December 1990–February 1991 Perspectives on Conflict from the Permanent Collection, 10 December 1990–20 April 1991 Viewpoints ’91: Annual Juried Exhibition, 10 December 1990–20 April 1991 1991

February

March April

Viewpoints: Annual Juried Exhibition, 8 February–10 March 1991 Rouault’s Miserere, McMaster UniversityArt Museum, 9 February–14 April 1991 Robert Fones, 16 March–14 April 1991 Material Remains, Charles H. Scott Gallery, 27 April–16 June 1991 EXHIBITIONS

FROM

1952

TO

2016

163

New Acquisitions, 27 April–18 August 1991 Canadian Historical Art, 27 April 1991–February 1992 June August September

Site Memory: Contemporary Art from Canada, 22 June–15 September 1991 19th Century Views of Guelph, 22 August–20 October 1991 Stu Oxley: New Works, 21 September–27 October 1991

October November December

Selected Works of Moriyama and Teshima, 24 October 1991–20 January 1992 Suzy Lake: Cautioned Homes and Gardens, 3 November–8 December 1991 American Prints in Black and White, American Federation of Arts, 15 December 1991–8 February 1992 1992

January February

Video Installation by Michael Balser, 30 January–1 March 1992 19th Century Prints from the Dale Collection, Art Gallery of Ontario, 1 February–1 March 1992 The Paintings of M.A. de Foy Suzor-Coté and Maurice Cullen, Fondation de la Maison des arts de Laval, 13 February–8 March 1992

March

Cecily Moon: Marginalia, 8 March–18 April 1992 Viewpoints: Annual Juried Exhibition, 12 March–26 April 1992 Gordon Laird: Mesa Cantos, 25 April–14 June 1992

April May

Cruciformed, Cleveland Centre for Contemporary Art, 3 May–July 1992 19th and 20th Century Painting and Sculpture, May 1992–August 1993

June

The Group of Seven and their Contemporaries, 20 June–7 September 1992 George Wallace Monoprints: An Old Fart’s View of a Floating World, 20 June–7 September 1992

July September

Inuit Art from the Collection, July 1992–August 1993 Focus on the Collection: Cynthia Short’s Calling, September 1992–April 1993 Lucia Onzain: Installation, Artist-in-Residence at Work, 21–24 September 1992 Stephen Andrews: Facsimile, 24 October 1992–17 January 1993 Gary Spearin: Unspeakable, 31 October 1992–10 January 1993

October

1993

January

Carel Moisewitch: Siren, 16 January–28 February 1993 Misfit Lit, Fantagraphics, Seattle, 21 January–28 February 1993 Focus on the Collection: John Scott’s Firestorm, February–September 1993 Abstracting the Landscape: The Artistry of Landscape Architect A.E. Bye, Pennsylvania State University, 5 March–26 May 1993

February March

1 64

APPENDIX

3

Robert Flack, 11 March–25 April 1993 Viewpoints: Annual Juried Exhibition, 11 March–25 April 1993 May

Paintings and Sculpture from the Collection, 1 May 1993–1 January 1995 The Canada Council Art Bank Exhibition, 9 March–13 June 1993 19th and 20th Century Canadian Painting, May 1993–April 1994

June

Youth Art from Wellington County, 3–20 June 1993 Hannah Höch: Collages, Art Gallery of Ontario, 19 June–25 July 1993 Following the Painters Eleven: Selections from the Joan and W. Ross Murray and Avrom Isaacs Gifts to the Permanent Collection, 19 June–19 September 1993 Canadian Abstraction, 26 June 1993–12 January 1994

July September October November

Recent Acquisitions, 31 July–12 September 1993 Christine Davis, 23 September–31 October 1993 Wallpapers: States of Culture Poster Project, 15 October–21 November 1993 Circa 1926: Selections from the Collection, 16 October 1993–September 1994 Have a Seat!: 24 Chairs Embellished by Artists, 4 November–2 December 1993 Regan Morris: Last Works, 11 November 1993–2 January 1994 19th Century Views of Guelph, 25 November–12 January 1993 Selections from the Inuit Art Collection, 28 November 1993–September 1994 1994

January

Kim Adams, 8 January–13 February 1994 The Anniversary Project: Video in Guelph 1976–1991, 14 January–13 February 1994 University of Guelph Department of Fine Art Print Study Collection,

February April May

September

27 January–10 April 1994 Stan Douglas: A Survey Exhibition, with the Art Gallery of York University, 23 February–27 March 1994 New Acquisitions: Gifts from Christopher Horne, 1–24 April 1994 Sovereignty: Annual Juried Exhibition, 7 April–1 May 1994 Pictures at an Exhibition: A Video Presentation by José Lebrero Stals, 1 May–19 June 1994 Stephen Livick: Calcutta, 5 May–5 June 1994 Sara Angelucci: Accidental Visions, 5 May–5 June 1994 XV: The 15th Year, 22 September–6 November 1994 Bid on a Box: 30 Unique Boxes by 30 Prominent Artists, Architects and Designers, 22 September–5 November 1994 EXHIBITIONS

FROM

1952

TO

2016

165

October November

Inuit Art from the Keewatin District, October 1994–July 1996 Frankenstein: Explorations in Manipulation and Surrationality, 16 November–31 December 1994 1995

January

Michael Snow: Walking Woman Works, Art Gallery of Ontario, 7 January– 26 February 1995 8 Other Women From 8 Other Decades, 16 January–15 April 1995 Printmakers at Riverside, Kitchener–Waterloo Art Gallery, 19 January–12 March 1995

February

Four Dress Works: Shawna Dempsey and Lorri Millan, 9 February 1995

March

Home Show ’95 Annual Juried Art Exhibition, 9 March–16 April 1995 The Gardens of Fletcher Steele, suny College of Environmental Science and Forestry, Syracuse, 23 March–15 April 1995 Qamanittuaq: Where the River Widens: Drawings by Baker Lake Artists, 27 April–17 September 1995

April

May

Recent Acquisitions, 27 April–10 September 1995 Clarence Gagnon: Illustrator and Impressionist, 27 April–8 November 1995 The Power of Selection: A Sampling from the Stewart and Letty Bennett and

September

the Joan and W. Ross Murray Gifts, 6 May–5 November 1995 Tea-Trays in the Sky, 18 September–4 November 1995 Perfect Speed, 28 September–29 October 1995 Guido Molinari: Une Rétrospective, Musée d’art contemporain de Montréal, 15 November–31 December 1995

November

1996

January

Cora Cluett: Now We Are Alone Together, 8 January–10 March 1996 Ninety-Six: Recent Acquisitions of Contemporary Canadian Art, 18 January– 28 March 1996 Iconoclasts: Selections from the Permanent Collection, 18 January–3 March 1996 Vast Tracks of Former Wilderness, January–October 1996

March

Margaret Priest: To View from Here, 7 March–25 June 1996 Elagiiqniiq, March–20 October 1996 Second Skin: Looking at the Garden Again, 11 April–9 June 1996 Roland Brener: Three Boats, 22 June–8 September 1996 Wish You Were Here, 29 June–8 September 1996

April June

166

APPENDIX

3

September

Living Units, 26 September–10 November 1996 Framed Art Auction, 26 September–16 November 1996

October

New York Abstraction, 24 October–12 January 1997 Survey: Lydia Dona 1989–1995, 24 October 1996–19 January 1997 Rise and Fall: John Dickinson and Laurie Walker, 21 November 1996–26

November

January 1997 1997

February

Aganetha Dyck, 6 February–29 March 1997 Mighty Real: Roberta McNaughton, 6 February–13 April 1997 A Particular Vernacular: Portraits from the Collection, 6 February–27 July

April

September

1997 Pin Spots: Dianne Bos, 10 April–27 July 1997 Wilderness and the Scientific Method: Reinhard Reitzenstein, 10 April–27 July 1997 Our Common Enemy: Works from the University of Guelph Special Collections, 24 April–27 July 1997 Vintage Weston, 18 September–2 November 1997 Telling Stories: New Acquisitions of Contemporary Art, 25 September–16 November 1997 Framed Art Auction, 25 September–22 November 1997

November

Images of the Child in Inuit Art, September 1997–July 1998 Paterson Ewen: Paintings from the 1990s, 27 November 1997–11 January 1998 Nature Machine, 27 November 1997–29 March 1998 Untitled: Non-Objective Objects, November 1997–July 1998 Robert Flack, November 1997–July 1998 1998

January March April May September

David Rokeby: Giver of Names, 22 January–1 March 1998 A Sense of Time and Place, 22 January–7 March 1999 Micah Lexier: Self Portrait as a Proportion, 12 March–10 May 1998 J.J. Tissot: A Selection of Etchings from the Art Gallery of Ontario Collection, 7 April–10 May 1998 Drawings from the Herman Collection: Western Masterpieces/Inuit Masterpieces, 21 May–26 July 1998 New Acquisitions in Inuit Art, 9 September 1998–25 July 1999 Speed: Visions of an Accelerated Culture, 24 September–1 November 1998 Framed Art Auction, 24 September–7 November 1998 EXHIBITIONS

FROM

1952

TO

2016

167

November

Eleanor Bond Paintings, Musée d’art contemporain de Montréal, 12 November–20 December 1998 New Acquisitions: Suzy Lake and Cheryl Sourkes, 21 November 1998–25 July 1999 1999

January

Contingency and Continuity: Negotiating New Abstraction, 21 January–21 March 1999 Sowing the Seeds: 125th Anniversary of the Ontario Agricultural College, 31 March 1999–4 August 2000

March April

A.J. Casson: An Artist’s Life, McMichael Canadian Art Collection, 31 March– 25 July 1999 Verne Harrison: Museum Chronicle: A Post Modern Parody–The Popeye Chronicles, 31 March–25 July 1999 Ron Shuebrook: New Acquisitions Paintings and Drawings 1985–1997, 20 May–25 July 1999

May

Greg Murphy: Fragments, 20 May–25 July 1999 Marion Manning: Tracking Dawn, 21 June 1999–11 March 2001 Joyce Wieland: Artist and Filmmaker, 18 September–3 November 1999

June September

Irene Avaalaaqiaq: Myth and Reality, 23 September 1999–20 February 2000 Framed Art Auction, 23 September–6 November 1999 Masterworks from Nunavut, 23 September 1999–4 August 2000 Carl Skelton: Out Here, 18 November 1999–20 February 2000 Mysteries of the Collection: Making History, 18 November 1999–4 August

November

2000 2000

March

Rolph Scarlett: Art, Design and Jewellery, 23 March–4 August 2000 Lois Etherington Betteridge: A Tribute Exhibition, with Beth Alber, Jackie Anderson, Anne Barros, Beth Biggs, Brigitte Clavette, Kye-Yeon Son, and Ken Vickerson, 23 March–4 August 2000 Ross Bell: Constructing After, 5–26 April 2000

April

Linda O’Neill: Obiectum Quo, 19 April–4 August 2000 fastwürms : 2 fang hoe, 21 September–5 November 2000 Framed 20th Anniversary Art Auction, 21 September–11 November 2000 Pictorial Title Pages and Frontispieces, from the collection of George Wallace, 2 October 2000–25 March 2001 Early Canadian Paintings: The Leob Gift, 2 October 2000–25 March 2001

September October

168

APPENDIX

3

November

Tim Jocelyn and ChromaZone: New Acquisitions, 16 November 2000–25 February 2001 Celebrating a Vision, National Gallery of Canada, 16 November 2000–21 January 2001 2001

March

Greg Denton: “Anyone Lived…,” 8 March 2001–29 September 2002 Leon Golub: While the Crime is Blazing: Paintings and Drawings, 1994–1999, 1 March–10 June 2001 Contemporary American Prints, 1 March–10 June 2001

May

Jan I.M. Noestheden: Congratulations on a Job Well Done, 24 March–3

June

September

August 2001 Lori Newdick: Felonious, 1 May–3 August 2001 Robert Mason: Moving Home, 17 June–4 November 2001 Controlled Substance, 20 June–4 August 2001 Paul Hoeffler: Jazz Photographs 1950s–1990s, 6 September–4 November 2001 Framed Auction Exhibition, 20 September–10 November 2001 Inuit Art, 1950–2000, 20 September 2001–30 July 2004

October November

Carolyn Riddell: Carrying Place, 11 October–30 December 2001 Antiquity Revisited: The 19th Century, Art Gallery of Ontario, 22 November 2001–6 February 2002 Andrew Hunter: In the Pines, 22 November 2001–24 March 2002 2002

January

The John and Gisela Sommer Collection: 40 Years of Collecting at Gallery

February March

House Sol, 12 January–17 March 2002 Art and the Colleges: A Brief History, 19 January–30 March 2002 Here Now: A Video Screening Celebrating the 25th Anniversary of Ed Video, 23 January 2002 New Acquisitions, 12 February–30 March 2002 Derek Sullivan: Work-Shopping, 23 March–24 April 2002

April May September

Historical Views of Guelph, 11 April–14 July 2002 Guelph 2002: A Celebration of Guelph and Its Artists, 11 April–14 July 2002 Sakis: Exit, 2 May–23 June 2002 New Works from the Collection, 19 September–13 October 2002 Gu Xiong: The Sickle and the Cell Phone, 19 September–3 November 2002 Beyond the Frame Auction Exhibition, 19 September–9 November 2002 EXHIBITIONS

FROM

1952

TO

2016

169

October

Ken Danby, 11 October–15 December 2002 Pearl Van Geest: This Pure Mouth, 17 October–22 December 2002

November

Irene Avaalaaqiaq: Recent Wall Hangings, 17 October 2002–1 August 2003 Permanent Collection, 21 November–22 December 2002 Gordon Couling: One Day in New York, 21 November 2002–2 February

December

2003 Solo: The Painting of Pierre Dorion, Galerie d’art du Centre culturel de l’Université de Sherbrooke, 13 December 2002–2 March 2003 2003

January

Books Made by Hand: Ink, Paper, Lead, Board, Leather, Thread, The Loving

March

Society of Letterpress Printers and the Binders of Infinite Love, 16 January–16 March 2003 Isabel Martinez: Frame of Mind, 22 March–24 April 2003 Messengers of Modernism: American Studio Jewellery–1940–1960, Montreal Museum of Fine Arts, 27 March–29 June 2003 After History: The Paintings of David Bierk, 27 March–1 August 2003 Michelle Allard: Deluge, 5 May–29 June 2003 Jesse Stewart: Wheels of Time, 7 September–14 December 2003

May September

Architectural Competition Designs for Guelph City Hall, 9 September–5 October 2003 Tony Scherman: A Donation of Paintings, 19 September–9 November 2003 Beyond the Frame Auction Exhibition, 18 September–15 November 2003 Images of War from the Bachinski/Chu Print Study Collection, School of

October

Fine Art and Music, University of Guelph, 16 October–14 December 2003 Robert Howson: Targets–The New Pretty?, 16 October–14 December 2003 2004

January

Laurel Woodcock: Play/Pause/Repeat, 15 January–29 February 2004 Skies, 24 January–29 February 2004 Diane Maclean: Lovely Weather, 15 January–18 April 2004 The English Picturesque and Dutch Landscape Prints of the Seventeenth

March

Century, 11 March–30 July 2004 Jaclyn Conley: Girls, 19 March–27 June 2004 Recent Donation: Ojibway Indian Encampment, A Painting by Frederick Arthur Verner, 3 May–July18 Marion Tuu’luq, National Gallery of Canada, 6 May–18 July 2004 Michael Waterman: Sound Circuit, 8 September–10 October 2004

May

September 170

APPENDIX

3

Beyond the Frame, 30 September–13 November 2004 John Kissick: A Survey of Recent Painting, 30 September–7 November 2004 October

Rolph Scarlett: Painter, Designer, Jeweller, 30 September 2004–10 July 2005 Tammy Ratcliff: Far from the Tree, 14 October–19 December 2004 2005

January

Noel Harding: Gauguin and BJ, 20 January–27 February 2005 Munro Ferguson, 20 January–27 February 2005 Paintings and Drawings by Joyce Wieland, 20 January–27 February 2005 David Hoffos: Scenes from the House Dream, 20 January–27 February 2005 In Service, Anna Leonowens Gallery, 29 January–24 April 2005

March April May June September

Body Unbound: Works from the Collection, 30 March–10 July 2005 First Nations and European Perspectives, 24 April 2005–30 November 2006 Eileen MacArthur: Pieces Missing, 5 May–5 June 2005 Paula Jean Cowan: Bit, 9 June–10 July 2005 Gordon Monahan: Music from Everywhere, 11 September–6 November 2005

October

Susan Detwiler: Feral, 29 September–6 November 2005 Beyond the Frame, 29 September–12 November 2005 Don Russell: Re-Presentation, 13 October–18 December 2005

December

Lyne Lapointe: La tache aveulge/The Blind Spot, Musée d’art contemporain de Montréal, 9 December 2005–2 April 2006 2006

January

Landscape: Flemish, Dutch and French Prints of the “Golden Age”: The Brink Collection, 19 January–9 July 2006 Seth: Dominion City, Transformation ago , 19 January–30 June 2006

March May

June

September

Martin Golland: What Is Said and What Is Meant, 23 March–16 April 2006 Holly Ward: The Relay, 4–21 May 2006 Nuvisavik: The Place Where We Weave: Inuit Tapestries from Arctic Canada, Canadian Museum of Civilization, 9 May–9 July 2006 Threadworks: The Garden Party, a special project of the Ontario Network of Needleworkers, in collaboration with the Wellington County Museum and Archives, 6 June–9 July 2006 Beyond the Frame, 20 September–18 November 2006 Contemporary Painting from Chongqing, China, 20 September–5 November 2006 Ryan Price: …draw while…, 28 September–30 November 2006

EXHIBITIONS

FROM

1952

TO

2016

17 1

2007

January

Dawn Matheson: Tongue in Trees–A Sound Installation, 11 January–10 June 2007 Shakespeare Made in Canada: Contemporary Canadian Adaptations in Theatre, Pop Media and Visual Arts, 11 January–10 June 2007 Kenojuak Ashevak and Contemporaries, 11 January 2007–10 May 2008 Annie Dunning: AirTime, 16 June–8 July 2007 Recent Acquisitions, 23 June–29 July 2007 Nicolé Vogelzang: Landfill, 23 June–7 October 2007 Jenn Norton: The Insatiable Appetite of Russian Dolls, 5–30 September 2007

June

September

Beyond the Frame, 20 September–17 November 2007 Mary Anne Barkhouse and Michael Belmore: Terra Incognita, 20 September–4 November 2007 Ken Danby, 10 October–16 December 2007 Chris Ahlers: Urban Systems, 18 October 2007–10 March 2008

October

2008

January

Aggie Beynon, Wabi: Imperfect Beauty, 24 January–20 July 2008 Silver Jewellery and Embroidery by the Naxi, Bai and Miao People of China and Tibetan Buddhist Jewellery and Clothing, 24 January–5 October 2008 Spectacle + Artifice, 31 January–20 April 2008 Drawn by Light: Collecting Photography, 31 January–30 March 2008 Inuit Art: New Acquisitions, 14 May–14 July 2008 Tom Thomson and the Group of Seven, 14 May–1 August 2008

May

Evan Macdonald: A Painter’s Life, 14 May–1 August 2008 Remi Arora: Night Shift, 14 May–22 June 2008 June

A Celebration of Canada’s North, 5 June–1 September 2008 John Eisler: We Love You/Join Us!, 25 June–5 October 2008 Susan Dobson: Rememory, 17 September–2 November 2008 Beyond the Frame, 17 September–15 November 2008 Chinese Drawings from Huxian, Jinshan, and Qijiang, China and Inuit Drawings from Canada, Sichuan Fine Arts Institute, 11 October 2008–19

September October

July 2009 Retelling Anne, 15 October 2008–1 February 2009 Searching for Home: The Lives of Lucy Maud Montgomery, University of Guelph Special Collections, 24 October 2008–18 January 2009 Lisette Model: An Icon in the History of Photography, National Gallery of Canada, 22 November–21 December 2008

November

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APPENDIX

3

2009

January

James Carl: Do You Know What, 17 January–22 March 2009

February

Master Works from the Collection: English, French and Indigenous Artists, 17 January–3 May 2009 Maria Pezzano: Repeating Imprints, 11 February–3 May 2009

May

Art from the Native Soil, Sichuan Fine Arts Institute, 11 February–19 July 2009 Contemporary Canadian Silver, 9 May–19 July 2009 Margaret Flood: More or Less, 23 May–19 July 2009 Hyang Cho: That’s How It Is, 23 May–19 July 2009 Beth Stuart: Braiding a Hole, 23 May–19 July 2009

September

Will Gorlitz: Nowhere If Not Here, 16 September–1 November 2009 Beyond the Frame, 16 September–28 November 2009 Michael Davey: Overly Charmed, 16 September–20 December 2009 Qamanittuaq: Drawings by Baker Lake Artists, 23 September–30 August 2010 2010

January

Gunilla Josephson: E.V. E. Absolute Matrix, 22 January–4 April 2010 Risking the Void: The Sceneography of Cameron Porteous, 22 January–4 April 2010

February April May

Natalka Husar: Burden of Innocence, 11 February 2010–5 September 2011 Cheryl Ruddock: Slip, 24 April–18 July 2010 Shane Krepakevich: Eight Functional Objects Based on Bodily and Architectural Relations Between My Partner, Mother, Father, and Myself, 5 May–18 July 2010

September

November

Jeff Tutt: Prospect and Refuge, 5 May–18 July 2010 ikons , 7–12 September 2010 House Beautiful, 25 September–31 October 2010 Beyond the Frame, 25 September–13 November 2010 Inuit Drawings and Sculpture, 1960–2005, 25 September–19 December 2010 Building a Legacy, Curating the Collection, 25 September 2010–17 April 2011 Cathy Daley, 27 November 2010–30 January 2011 Osheen Harruthoonyan, 27 November 2010–17 February 2011 2011

February May

Ehryn Torrell: Self-Similar, 26 February–26 April 2011 Dawn Johnston: More, 12 May–3 July 2011 EXHIBITIONS

FROM

1952

TO

2016

17 3

Amanda Memorran: Against Nature, 12 May–3 July 2011 Laura Marotta: Mattamy Eclectic, 12 May–3 July 2011 Canadian Art: 1850–1950, from the Collection, 12 May–3 July 2011 Stone, Bone and Ivory: The Borins Collection, 12 May–15 July 2012 Baker Lake Wall Hangings, 12 May–11 September 2011 Irene Avaalaaqiaq: Myth and Reality, 21 May–24 July 2011 Oven of Fire and Myth: Kachelöfen by Jessica Steinhäuser and Drawings by Ryan Price, 10 September–20 November 2011 The View from Here: New Landscape, 30 September–1 October 2011 Pedie Wolfond: Lumen, 20 November 2011–20 February 2012

September

November

2012

January February March

Oh, Canada, 16 January–22 April 2012 The Art of Thomas Nisbet, Master Cabinetmaker, 16 February–22 April 2012 Suzy Lake: Political Poetics, Art Museum at University of Toronto, 15 March–29 April 2012

May

Nature of the Beast, 17 May–8 July 2012 Maria Harmonic: Your Franklin Gothic, I Thought, Was Comic Sans, 17 May–8 July 2012 Marco D’Andrea: Composition, 17 May–8 July 2012 Janet Morton: The Ravelled Sleeve, 29 September–11 November 2012

September

Beyond the Frame, 29 September–24 November 2012 2013

January

Vessna Perunovich: Line Rituals and Radical Knitting, 24 January–31 March 2013 Phil Bergerson: American Shards, 24 January–14 April 2013 Allan Chawner and Andrew Chubb: Bar Beach, Beyond the Sea, 13 February–31 March 2013 1, Boarding House Gallery, 28 February–24 March 2013 XXXV: msac at 35 Years, 9 May–14 July 2013 Jennifer Carvalho: Long Take, Boarding House Gallery, 16 May–June 1 2013

February

May June September

1 74

APPENDIX

Evan Penny: Slice of Life, Boarding House Gallery, 11–29 June 2013 Sound Check: The Jazz Photography of Thomas King, 4 September–15 December 2013 Artifact Artefiction, 26 September–3 November 2013 Beyond the Frame, 26 September–9 November 2013 À Table, 26 September–15 December 2013 3

October

Asingit: Their Others, Boarding House Gallery, 8 October–14 December 2013

November

Legacy: Canadian Art, 1750–1950, from the Collection, 21 November–22 December 2013 Masterworks from the Collection, 13 December 2013–March 2014

December

ART GALLERY OF GUELPH EXHIBITIONS 2014

January

Ink and Light: The Etchings of Claude Lorrain, 23 January–30 March 2014

February May

Monica Tap: The Pace of Days, 23 January–6 April 2014 Ron Shuebrook: Drawings, 23 January–27 April 2014 Ron Shuebrook: Paintings, Boarding House Gallery, 1 February–8 March 2014 Robert Hengeveld: Promised Lands, 3 May–13 July 2014

September

Rachel Crummey: Pharmakon, 2 May–13 July 2014 Laura Findlay: For What Is Sunk Will Hardly Swim, 2 May–13 July 2014 John Heward: 80, 3–5 September 2014 Gord Peteran: Furniture, 25 September–2 November 2014 Art/Craft, 25 September–8 November 2014

October

Carl Beam: Aakideh, 25 September–21 December 2014 David Bierk: Save the Planet, Boarding House Gallery, 11 October–16 December 2014

November

Planes, Trains and Automobiles, 11 November–16 December 2014 2015

January

June July September

Kelly Richardson: Terrene, 22 January–29 March 2015 Kate Wilhelm: Yes, These Bones Shall Live, 22 January–29 March 2015 Travelling with the Ancestors: An Exploration of Historical First Nations Beadwork, 22 January–29 March 2015 Minwoo Lee: Moving Spotlight, 22 January–29 March 2015 Master Class, Boarding House Gallery, 13 January–28 February 2015 Pop Up Shop, Boarding House Gallery, 2–27 June 2015 Rarities and B-Sides, 7 July–1 August 2015 Good/Bad, Bad/Good, Boarding House Gallery, 7 July–1 August 2015 Of Time and Buildings, George Eastman House, 17 September–1 November 2015 Art/Craft, 17 September–14 November 2015 EXHIBITIONS

FROM

1952

TO

2016

17 5

The Queer Feeling of Tomorrow, 17 September–13 December 2015 Titled Untitled, 17 September–13 December 2015 November

Words of Art, 21 November–20 December 2015 2016

January

Eileen MacArthur: Inconsolable, Boarding House Gallery, 9 January–12 March 2016 Stu Oxley: Distant Grounds, MacLaren Art Centre, 21 January–27 March 2016 Young and Giroux: Berlin 2013/1983, 21 January–3 April 2016 Cole Swanson: Out of the Strong, Something Sweet, 21 January–10 April 2016

May

Rock, Paper, Scissors, 7 May–30 July 2016 John Haney: Grapple, 7 May–30 July 2016 Paul MacIntyre: A Sense of Order, 7 May–30 July 2016 Christina Kingsbury and Anna Bowen: ReMediate, Boarding House Gallery, 4 June–23 July 2016

June

176

August September

Mondes bricolés, 23 August–30 October 2016 Greg Denton: Hours, 15 September–18 December 2016 Blood, Sweat, Tears, 15 September–18 December 2016

November

Dear Life, 26 November 2016–8 January 2017

APPENDIX

3

CHAPTER 1

Artist Biographical Resources

Artist biographical information can be found on websites such as the National Gallery of Canada and the Art Gallery of Ontario. Other sources include Art Canada Institute publications, artist websites or their dealer websites, and the Centre for Contemporary Canadian Art’s ccca Canadian Art Database (ccca.concordia.ca).

CHAPTER 1

Illustrations

1.1 Professor O.J. Stevenson. Photo: oac Review 2 1.2 Tom Thomson, The Drive, 1916–17. Oil on canvas, 120 × 137.5 cm. Ontario Agricultural College purchase, with funds raised by students, faculty, and staff, 1926. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 4 1.3 Marc-Aurèle de Foy Suzor-Coté, The Old Willow, 1924. Oil on canvas, 112.4 × 125.1 cm. Ontario Agricultural College purchase, circa 1928. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 5 1.4 Massey Library reading room. Photo: oac Review 7 1.5 Evan Macdonald, George Sydney Smith, the Air Gunner, 1942. Oil on canvas, 110.5 × 85.1 cm. Gift of the members of the 1944–45 short course, Wireless School, rcaf , Guelph, 1945. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 8 1.6 A.J. Casson, Ontario Village, Spring, 1948. Oil on board, 50.8 × 61 cm. Macdonald Institute Purchase, 1953/54. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 9 1.7 Florence Wyle and Frances Loring assemble bas-relief at the Ontario Veterinary College. Photo: oac Review 10 1.8 MacNabb Memorial Library showing the bas-relief by Florence Wyle. Photo: oac Review 11 1.9 Wassily Kandinsky (Russian), Composition, 1935. Woodcut (restrike), 23.2 × 27.3 cm. Gift of the Fine Art Printmaking Students, 1974. Bachinski/Chu Print Study Collection, University of Guelph School of Fine Art and Music. Photo: Art Gallery of Guelph 12 2.1 Sorel Etrog: Bronzes exhibition in the MacKinnon Building, 1969. Photo: Judith Nasby 15 2.2 Yvonne McKague Housser, Summer Night, Toronto, 1949. Oil on Masonite,

50.8 × 66 cm. Macdonald Institute Purchase, 1956. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 17 2.3 Horse brass agricultural themes include a cockerel and a bugle. The horse brass collection was a gift of Phyllis Higinbotham in memory of Dr Norman C. Wallace for the University of Guelph Collection at the Art Gallery of Guelph, 1977. Photo: Judith Nasby 20 2.4 Michael Snow, Torso, 1963. Canvas with polyester resin, enamel, and alkyd enamel, 73.7 × 66 cm. Purchased through the Alma Mater Fund 1975, with assistance from the Government of Ontario through Wintario, 1976. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 21 2.5 Catalogue cover for Religious Art of Quebec exhibition, 1969; image: Anonymous, Saint Joseph, eighteenth century. Photo: Judith Nasby 22 2.6 Rodin: Bronzes exhibition at the McLaughlin Library, 1970. Photo: Judith Nasby 22 2.7 Catalogue cover for Life Style of Our Forefathers exhibition, 1971; image: Paul Kane, Portrait of John Richardson, tall case clock, 1850. Photo: Judith Nasby 24 2.8 Joyce Wieland, Power Woman with Man, 1991. Watercolour on paper, 21.5 × 14 cm. Gift of Kathy Dain, 2003. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph. © National Gallery of Canada 25 2.9 Catalogue cover for Coalface 1900 exhibition, 1973; image: William Jones, Child, 1910, lanternslide. Photo: Judith Nasby 26 2.10 Photography from 1845 to 1970 exhibition at the McLaughlin Library, 1970. Photo: Judith Nasby 27 2.11 Catalogue cover for Narrative in Contemporary Art; image: Bill Beckley, Study, 1975, ink on black-and-white photograph, 1975. Photo: Judith Nasby 29 2.12 Rolph Scarlett, Intermezzo, 1945. Oil on canvas, 84 × 134 cm. Gift of the artist, 1977. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 32 2.13 Rolph Scarlett, Ring, 1976. Silver with turquoise, citrine, and synthetic stone, 3.9 × 4.9 × 4.6 cm. Private collection. Photo: Keith Betteridge 32 2.14 Richard Bedwash (Anishnaabe), The Sturgeon, 1977. Acrylic on paper, 81.3 × 101.7 cm. University purchase, 1977. University of Guelph Collection at the Art Gallery of Guelph. “The lake sturgeon, leader of all fish, was given supernatural and medicinal powers by Nanabush for the purpose of helping people. The Ojibwa show their gratitude for this by throwing fish back into the water so that the fish may be incarnated.” 33 2.15 Norval Morrisseau (Anishnaabe), Night Rider, 1975. Acrylic on kraft paper, 121.2 × 205.1 cm. Gift of alumni, Alma Mater Fund and Wintario 1977. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 34 180

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3.1 Sir William Christopher Macdonald. Photo: Art Gallery of Guelph 36 3.2 Macdonald Consolidated School as it looked when built in 1904. Photo: Canadian Collector 36 3.3 Students tending their individual garden plots as part of their nature studies course, circa 1900s. Photo: Canadian Collector 37 3.4 Macdonald Consolidated School as it looked prior to renovation. Photo: Canadian Collector 38 3.5 Architect Raymond Moriyama’s design for the Macdonald Stewart Art Centre. Photo: Art Gallery of Guelph 40 3.6 Interior view showing three-storey gallery. Photo: Art Gallery of Guelph 40 3.7 Ontario premier Bill Davis and David Macdonald Stewart present the building plaque to director Judith Nasby at the official opening of the Macdonald Stewart Art Centre, 8 November 1980. Photo: Art Gallery of Guelph 41 3.8 Group of Seven artist A.J. Casson and his wife, Margaret, look through the University of Guelph Art Collection catalogue on a visit to the Macdonald Stewart Art Centre, 1981. Photo: Art Gallery of Guelph 42 3.9 The Macdonald Stewart Art Centre armorial bearings. Photo: Art Gallery of Guelph 45 3.10 Education coordinator Lynn Barbeau with a whalebone carving by Igloolik artist Jonah Augotoutok, 1980. Photo: Guelph Daily Mercury 46 3.11 Macdonald Stewart Art Centre school tours brochure, 1983. Photo: Art Gallery of Guelph 46 3.12 K.M. Graham, Dorset Fantasy, 1984. Acrylic on canvas, 152 × 203 cm. Purchased with assistance from the Canada Council, 1984. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 48 3.13 Tom Thomson, The Alligator, Algonquin Park, 1916. Oil on composite wood-pulp board, 120 × 137.5 cm. Gift of Stewart and Letty Bennett, donated by the Ontario Heritage Foundation to the University of Guelph, 1989. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 48 3.14 Andreas Drenters, Pioneer Family (detail), 1988. Steel and copper. Gift of Ginty and Lorie Jocius and their children, Davia, Gavin, and Jordon, in memory of Yosef Drenters, 1990. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 49 3.15 Robert Flack, Anatomical Garden, 1990–91. Photograph, 103.5 × 79.4 cm. Purchased with assistance from the Ontario Ministry of Culture, Tourism and Recreation, and an anonymous donation, 1992. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Paul Petro Contemporary Gallery 51 3.16 Robert Flack. Macdonald Stewart Art Centre student interns with Chandler Kirwin I L L U S T R AT I O N S

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and Judith Nasby; from left: Juliana Murphy, Joanne McAuley, Karin Silverstone, Lisa Cipparone, and Michelle Miller, 1994. Photo: Art Gallery of Guelph 53 3.17 Beyond the Frame auction in 2011. Photo: Art Gallery of Guelph 55 4.1 Ken Danby, Guelph Carousel, 1977. Watercolour, 34 × 55 cm. Gift of the Guelph Creative Arts Association, 1980. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 57 4.2 Eleanor Bond, The Centre for Fertility and Ecology Is Subsidized by Visitors to the Water Slide Area, 1991. Oil on canvas, 244 × 372 cm. Purchased with funds raised by the Macdonald Stewart Art Centre volunteers, with assistance from the Ontario Ministry of Culture, Tourism and Recreation, 1992. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 58 4.3 Ron Shuebrook, Untitled, 1989. Oil on canvas, 243.8 × 365.8 cm. Purchased through the Gordon and Evelyn Couling Bequest, with assistance from the Canada Council, 1989. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 59 4.4 Seth (Gregory Gallant), It’s a Good Life, If You Don’t Weaken (page 116), 1993. Ink and grease crayon on paper, 50.8 × 30.5 cm. Gift of the artist, 2007. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, courtesy Seth and Drawn & Quarterly 60 4.5 Allan Chawner (photographer, Australian) and Andrew Chubb (composer, Australian), Bar Beach (Beyond the Sea), 2007. Three-channel video projection with original music, running time: 20 minutes. Gift of the artists, 2014. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 61 4.6 Susan Dobson, Untitled (Rememory), 2008. Giclée print on photo rag paper, 147.3 × 106.7 cm. Gift of the artist, 2010. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 62 4.7 Kenojuak Ashevak (Inuit), Owl, 1982. Felt marker on paper, 50.8 × 66 cm. Purchased with funds donated by Blount Canada, with assistance from the Canada Council, 1982. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, reproduced with the permission of Dorset Fine Arts 63 4.8a Pudlo Pudlat (Inuit), Pungnialuk, 1978. Coloured pencil and felt marker on paper, 76.2 × 76.2 cm. Purchased with funds donated by Blount Canada, with assistance from the Canada Council, 1982. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, reproduced with the permission of Dorset Fine Arts 64

1 82

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4.8b Pudlo Pudlat (Inuit), Pungnialuk, 1978. Stonecut (proof), 76.2 × 76.2 cm. Purchased with funds donated by Blount Canada, with assistance from the Canada Council, 1982. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, reproduced with the permission of Dorset Fine Arts 65 4.9 Annie Pootoogook (Inuit), Man Kneeling and Crying, 2003–04. Ink, pencil crayon, and pencil on paper, 50.8 × 66 cm. Purchased with support from the Florence G. Partridge Fund, the Elizabeth L. Gordon Art Program of the Walter and Duncan Gordon Foundation, and the Canada Council for the Arts Acquisition Assistance Program, 2007. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, reproduced with the permission of Dorset Fine Arts 66 4.10 Jessie Oonark (Inuit), Untitled (Fish Women), 1975. Pencil and coloured pencil on paper, 56.4 × 76 cm. Purchased with funds donated by Blount Canada, with assistance from the Government of Ontario through the Ministry of Citizenship and Culture, 1980. Macdonald Stewart Art Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, reproduced with the permission of the Public Trustee of Nunavut, Estate of Jessie Oonark 66 4.11 Simon Tookoome (Inuit), Caribou/Human Transformation, 1982. Coloured pencil on black paper, 56 × 76 cm. Purchased with funds donated by Blount Canada, with assistance from the Canada Council, 1983. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, reproduced with the permission of the Inuit Art Foundation 68 4.12 Artist Marion Tuu’luq, Macdonald Stewart Art Centre director Judith Nasby, and Mayor David Tagoona cutting a caribou sinew rope to open the exhibition Qamanittuaq: Where the River Widens in Qamani’tuaq, Nunavut, 1994. Photo: Dave Sutherland 69 4.13 Winnie Owinggayak wears her elaborately beaded caribou amautiq showing the distinctive Qamani’tuaq design during a history of clothing presentation at the Baker Lake Art Symposium, Qamani’tuaq, Nunavut, 1994. Photo: Judith Nasby 69 4.14 Irene Avaalaaqiaq with Sally Qimmiu’naaq Webster, who translated Avaalaaqiaq’s University of Guelph convocation address, 1999. Photo: At Gallery of Guelph 70 4.15 Irene Avaalaaqiaq (Inuit), Woman Alone, 1999. Wool duffle, felt, and cotton embroidery thread, 152.5 × 186.8 cm. Donated by Judith and David Nasby and their children, Graham and Sarah, in memory of John and Lillian Goatley, 1999. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, reproduced with the permission of the Inuit Art Foundation 71

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4.16 Doris Beneth (Kuna), Untitled, 2008. Reverse cotton appliqué, 83 × 133 cm. Purchased with funds raised by the Art Centre volunteers, 2008. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 76 4.17 Eufrocina Robinson (Kuna), Untitled (Cholera), 2008. Reverse cotton appliqué, 85 × 133 cm. Purchased with funds raised by the Art Centre volunteers, 2008. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 76 4.18 Oswaldo DeLeón Kantule (Kuna), Homage to Norval Morrisseau, 1997. Acrylic on canvas, 152.4 × 111.8 cm. Purchased with funds raised by the Art Centre volunteers and with support from the Florence G. Partridge Fund and the Canada Council for the Arts Acquisition Assistance Program, 2008. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 77 4.19 Lois Betteridge, Brandy Snifter (interior), 1983. Sterling silver with antler and labradorite set in a cup, 15 × 10 cm. Purchased with the support of the Canada Council for the Arts Acquisition Assistance Program, 2000. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Keith Betteridge 79 4.20 Anne Barros, The Secret Lives of Forks, 2000. Sterling silver and silk. Purchased with financial assistance from the Canada Council for the Arts Acquisition Assistance Program, 2001. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Keith Betteridge 81 4.21 Susan Watson Ellis, Under/Exposed 343, 2000. Sterling silver, 30.5 × 86 × 10.2 cm. Purchased with funds raised by the Art Centre volunteers and with the financial support of the Canada Council for the Arts Acquisition Assistance Program, 2003. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 81 4.22 Paulus Potter (Dutch), The Grey Horse, 1652. Etching, Plate: 15 × 23 cm. Gift of Andrew and Helen Brink in memory of R. Alexander Brink and Edith Margaret Whitelaw Brink, 2004. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 82 4.23 Samuel Palmer (British), The Herdsman’s Cottage, 1850. Etching, plate: 32.3 × 24.2 cm. Gift of Andrew and Helen Brink in memory of R. Alexander Brink and Edith Margaret Whitelaw Brink, 2004. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 83 4.24 Claude Lorrain (French), The Shipwreck, circa 1638–41. Etching, 12.7 × 17.5 cm. Gift of Andrew and Helen Brink in memory of R. Alexander Brink and Edith Margaret Whitelaw Brink, 2013. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 84 184

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4.25 Gu Xiong, The Sickle and the Cell Phone, 2002. Bronze. Commissioned with funds donated by Ann Oaks and with financial support of the Canada Council for the Arts Acquisition Assistance Program, 2002. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 85 4.26 Gu Beili (Chinese), Pig King. Gouache on paper, 59.7 × 60.3 cm. Purchased with support from the Florence G. Partridge Fund and the Elizabeth L. Gordon Art Program of the Walter and Duncan Gordon Foundation, 2007. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 88 4.27 Zhu Yaying (Chinese), Green Chemical Factory. Gouache on paper, 61.6 × 64.1 cm. Purchased with support from the Florence G. Partridge Fund and the Elizabeth L. Gordon Art Program of the Walter and Duncan Gordon Foundation, 2007. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 89 4.28 Feng Bin (Chinese), No. 16, 2002. Acrylic on canvas, 140 × 180 cm. Purchased with support from the Florence G. Partridge Fund, in consultation with the College of Social and Applied Human Science, 2006. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 90 4.29 Liu Ping (Chinese), Bobi: A Touch of Red, 2006. Acrylic on canvas, 97 × 83 cm. Purchased with support from the Florence G. Partridge Fund, in consultation with the College of Social and Applied Human Science, 2006. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 91 4.30 Li Chengzhi (Chinese), Song of Four Seasons, 2004. Colour woodcut, 87.5 × 60 cm. Art Centre purchase, 2008. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 92 4.31 Anonymous, Tuscarora artist, Large Flat Bag, circa 1870. Seed and tube beads on wool and cotton, 19 × 21.5 cm. Gift of William Reid, 2014. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 92 4.32 Anonymous, Woodland artist, Bandolier Bag, circa 1900. Seed and tube beads on velvet and cotton, 94 × 35 cm. Gift of William Reid, 2014. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 93 5.1 Janet Morton, Before Flight, 2012. Limestone and bronze. Commissioned with funds donated by Helen Brimmell and with support from the Canada Council for the Arts Acquisition Assistance Program, 2012. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 95 5.2 Frances Loring, Turkey, 1932. Bronze. Purchased through the Florence G. Partridge Fund, in consultation with the Ontario Agricultural College, 1986. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 96 I L L U S T R AT I O N S

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5.3 Florence Wyle, The Harvester, 1938. Bronze. Purchased with funds donated by the class of 1947, Ontario Agricultural College, on their fortieth anniversary, with assistance from the Walter and Duncan Gordon Charitable Foundation and the Government of Ontario through the Ministry of Citizenship and Culture, 1986. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 97 5.4 Robert Wiens, Enclosure with Sections of a Horse and Soldier (detail), 1987. Steel and copper. Commissioned with funds donated by du Maurier Arts, with assistance from the Government of Ontario through the Ministry of Citizenship and Culture, and from the Canada Council for the Arts Acquisition Assistance Program, 1987. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 99 5.5 Tony Urquhart, Magic Wood, 1987. Painted steel. Commissioned with funds donated by du Maurier Arts, University of Guelph alumni, and the Guelph Arts Council, with support from the Government of Ontario through the Ministry of Citizenship and Culture, and from the Canada Council for the Arts, 1987. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 100 5.6 Verne Harrison, Dual School Bench, 2002. Bronze. Commissioned with funds donated by John and Nancy Bligh, 2002. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 100 5.7 Beth Alber, Visionary, 2001. Granite. Commissioned with funds donated by James and Diane King, with financial support of the Canada Council for the Arts Acquisition Assistance Program, 2002. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 101 5.8 Evan Penny, Mask, 1989. Bronze. Commissioned with funds donated by the class of 1930, Ontario Agricultural College, on their fiftieth anniversary, with sponsorship from du Maurier Arts, and with support from the Government of Ontario through the Ministry of Culture and Communications, 1989. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 103 5.9 Jane Buyers, Agricultura, 1997. Bronze. Commissioned through the Florence G. Partridge Fund, in consultation with the Ontario Veterinary College and with financial support from the Canada Council for the Arts Acquisition Assistance Program, 1997. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 104 5.10 Brian Scott, Stray Plow, 1993. Aluminum boat, outboard motor, and polished stainless steel. Purchased with funds donated by du Maurier Arts, 1992. Macdonald 186

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Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 104 5.11 William Noah (Inuit), Kivioq’s Journey Ends, 2005. Stone. Commissioned with funds donated by the class of 1955, on the fiftieth anniversary of their graduation from the Macdonald Institute, in memory of Professor Gordon Couling, 2005. University of Guelph Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph, reproduced with the permission of the Inuit Art Foundation 105 5.12 Gord Peteran, Artifact of Invention (detail), 2013–14. Brass, wild and domestic roses. Commissioned with support from the Florence G. Partridge Fund and from the Canada Council for the Arts Acquisition Assistance Program, 2013. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 106 6.1 Kate Wilhelm, Gender Bend’her, 2011. Digital C-print, 61 × 91.4 cm. Purchased with funds raised by the Art Gallery of Guelph Volunteer Association and with financial support from the Canada Council for the Arts Acquisition Assistance Program, 2015. Art Gallery of Guelph Collection. Photo: Kate Wilhelm 108 6.2 Susan Detwiler, Green Plot, 1999. Green party dress, felt, and human hair, 91.4 cm diameter. Gift of the artist, 2013. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 110 6.3 fastwürms , Ex Ovo Omnia (interior), 2000. Fibreglass, steel, stained glass, mirror, light fixture, and acrylic paint. Commissioned through the Florence G. Partridge Fund, in collaboration with the Ontario Agricultural College and with financial support from the Canada Council for the Arts Acquisitions Assistance Program, 2000. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 112 6.4 Eileen MacArthur’s exhibition Inconsolable at the Boarding House Gallery, 2016. Photo: Art Gallery of Guelph 113 6.5 Don Russell (Mi’kmaq/Acadian), Circle Mound, 2016. Earth, plant materials, and reclaimed locally quarried limestone. Commissioned with funds raised by the Art Gallery of Guelph Volunteer Association, with support from the Canada Council for the Arts Acquisition Assistance Program, 2016. Art Gallery of Guelph Collection. Photo: Art Gallery of Guelph 115 7.1 Carl Skelton, Canadiana/Begging Bear, 1995–99. Bronze. Purchased with funds donated by the Walter and Duncan Gordon Foundation, with the financial support of the Canada Council for the Arts Acquisition Assistance Program, 1999. Macdonald Stewart Art Centre Collection at the Art Gallery of Guelph. Photo: Art Gallery of Guelph 118 7.2 Art Gallery of Guelph in 2016. Photo: Gwenyth Chao 119 I L L U S T R AT I O N S

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8.1 Naomi Smith (Neyaashiinigmiing), Ode to Lelia and the Ancestors, 2014 (flat bag, front and back). Glass seed beads, cotton velveteen, paper, deer hide, and raw silk. Purchased with funds raised by the Art Gallery of Guelph Volunteer Association and with the support of the Canada Council for the Arts Acquisition Program, 2015. Art Gallery of Guelph Collection. Photo: Art Gallery of Guelph 120

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CHAPTER 1

Notes

chapter one 1 The Ontario Agricultural College (oac ) at that time was associated with the University of Toronto. However, it was located in the far-off town of Guelph. Thus, oac students only took courses from oac professors. 2 John Kenneth Galbraith, quoted in Saturday Night, “Defence from Politics Is Needed at oac ,” 8 May 1948; and Fortune, 1948. Reprinted in part in Ross, The College on the Hill, Appendix 6, 168–9. 3 Annual Report of the Ontario Agricultural College and Experimental Farm (Guelph: Ontario Agricultural College, 1916), 41. 4 Couling, “Paintings, Good Design and Education.” 5 “The Picture Fund.” 6 “Canadiana Collection Is Started at the College.” 7 Jones, “Pictures and Painters,” 116–9. 8 “Pictures in the Dining Hall.” 9 Bell, “English Sculptress at the College,” 95–9. 10 Interview with Florence Partridge, spring 1979. 11 From 1 May 1945 to 22 February 1945, the Department of National Defence used Macdonald Institute and other campus buildings for the No. 4 Wireless School of the Royal Canadian Air Force. 12 Interview with Edith Bray, fall 1975. 13 Ross, The College on the Hill, 55. 14 Interview with Dr Margaret McCready, spring 1979, and interview with Lois Etherington Betteridge, November 2016. 15 The ovc had moved to Guelph from Toronto in 1922.

c h a p t e r t wo 1 Interview with Margaret Dryden, December 2016. 2 The earliest portrait in the collection by J.W.L. Forster of James Mill (president of the

oac from 1879 to 1904) was presented by the oac class of 1905. That same year, Sir Wyly Grier completed a portrait of J. Hoyes Panton (professor of natural history from 1878 to 1897). This oil was a gift from oac alumni. 3 Dudley, Wilkinson, and the American Association of Museums, Museum Registration Methods. 4 Nasby, “Horse Brasses.” 5 The Guelph Spring Festival displayed local, national, and international talent, and an education program of master classes, seminars, and competitions from 1968 to 1989. The festival was one of the first community-based classical music festivals in Canada. Its popularity contributed to awakening a public campaign for a concert hall in downtown Guelph, resulting in the opening of the River Run Centre in 1997. 6 7 8 9 10

Soucy and Trudel, Religious Art of Quebec. Witkin Gallery, Photography 1845–1970. Nasby, “Victoriana.” Nasby, “A Painter of Guelph.” Reid, A Concise History of Canadian Painting.

11 Brimmell, “Famous Artist Plan Finally Takes Root.”

chapter three 1 Nasby, “Macdonald Stewart Art Centre,” 34–8. 2 Concurrent with the development of the msac , the city was developing other facilities – the River Run Centre and the Guelph Youth Music Centre that gave balance to the opening of the Sleeman Centre sports facility, home of the Guelph Storm hockey team. 3 “Strategies for Peace and Security in the Nuclear Age,” University of Guelph conference, 27–30 October 1983.

chapter four 1 Gordon Couling was founding president and mentor to the Guelph Creative Arts Association, founded in 1948 to encourage development of the visual arts by organizing education, exhibition, and sales opportunities for its members. 2 Dr William G. Bensen (1949–2017) was a Hamilton rheumatologist and clinical professor at McMaster University.

chapter six 1 The Guelph Jazz Festival presents concerts of local, national, and international artists working in creative improvised music. The festival also convenes an educational

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colloquium examining improvisation within a cultural and social context, in partnership with the International Institute for Critical Studies in Improvisation at the University of Guelph. Ajay Heble was the founding artistic director, continuing in this position until 2018.

NOTES

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Campbell, Nancy, and Erkki Huhtamo. David Rokeby: The Giver of Names. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1998. Campbell, Nancy, Jannie Marchessault, A.L. Archibald, D.W. Burt, and J.L. Williams. Frankenstein: Explorations in Manipulation and Surrationality. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1994. “Canadiana Collection Is Started at the College.” Oacis, 22 October 1930. Contemporary French Tapestries. Exhibition catalogue. Toronto: Rothmans of Pall Mall Canada, 1966. Couling, Gordon. “Paintings, Good Design and Education.” oac Review and Alumni News, spring 1957. Daigneault, Robert, Paul Fournier, Rick MacMillan, and Judith Nasby. Bridges: Paul Fournier and Robert Daigneault. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1982. Dryden, Margaret, and John Wood. Canadian Printmakers. Exhibition brochure. Guelph: University of Guelph Art Gallery, 1969. Dudley, Dorothy H., Irma Bezold Wilkinson, and the American Association of Museums. Museum Registration Methods, 3rd ed., Washington, dc : American Association of Museums, 1979. Ellis, Stephen, Jonathan Lasker, Fabian Marcaccio, David Reed, and Philip Taaffe. “New York Abstraction: A Symposium.” Symposium at the Macdonald Stewart Art Centre, Guelph, Ontario, 24 October 1996. Firth, Mary. “Parent/Child Workshop.” Program guide, Macdonald Stewart Art Centre Guelph, 1983. Fischlin, Daniel, and Judith Nasby. Shakespeare Made in Canada: Contemporary Canadian An Exhibition on the Theme of Videotape as Art. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2007. Flack, Robert. This Is True to Me. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1994. Hess, Paul. Video Circuits II. Exhibition catalogue. Guelph: Students Gallery, 1975. Hunter, Andrew, Judith Nasby, and Pamela Meredith. Carl Skelton: Out Here. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1999. Husar, Natalka. Burden of Innocence. Ukraine: Oranta Printing House, 2009. Husar, Natalka, Greta Moray, Carol Podedworny, Stuart Reid, Dawn Owen, and Meeka Walsh. Husar Handbook. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2010. Ignatieff, Helen. Life Style of Our Forefather: An Exhibition of Canadiana Furniture and Furnishings from 19th Century Western Ontario. Exhibition catalogue. Guelph: University of Guelph Art Gallery, 1971. 194

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Jackson, Marion E. “Artists’ Interpretations and Syllabic Translations for the Baker Lake Inuit Drawings in the Collection of the Macdonald Stewart Art Centre, Guelph, Ontario.” Translated by William Noah. Manuscript. Guelph: Macdonald Stewart Art Centre, 1983. Jackson, Marion E., and Judith Nasby. Contemporary Inuit Drawings. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1987. Jackson, Marion E., Judith Nasby, and William Noah. Qamanittuaq: Where the River Widens – Drawings by Baker Lake Artists. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1995. Jenkner, Ingrid. K.M. Graham: 1971–1984. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1984. – The Ontario Heritage Foundation Stewart and Letty Bennett Collection. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1984. – Site Memory. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1991. – Yosef Drenters: Images of the Madonna. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1982. Jones, Dan. “Pictures and Painters.” oac Review, June 1909. – “Sculpture.” oac Review, December 1909. Jones, William, and Roger Worsley. Coalface 1900: A Welsh Arts Council Photographic Exhibition. Exhibition catalogue. Cardiff, uk : Welsh Arts Council, 1972. Kirwin, Chandler, and Judith Nasby. Drawings from the Herman Collection: Western Masterpieces and Inuit Masterpieces. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1998. Lawrence, Sandra, and Judith Nasby. Art Gallery Handbook, Volume 2, edited by W. McCallister Johnson and Frances K. Smith. Toronto: Ontario Association of Art Galleries, 1991. Madill, Shirley, Sigrid Dahle, Bruce Grenville, Joan Borsa, and Gilles Hébert. Aganetha Dyck. Edited by Maggie Duryer. Exhibition catalogue. Winnipeg: Winnipeg Art Gallery, 1995. Mathis-Moser, Ursula, Sybille-Karin Moser, Judith Nasby, Elke Nowak, and Gerard van Bussel. Asingit: The Others (Les Autres, Die Anderen: Die Stimmedes Anderen Kunst aus Nunavut). Exhibition catalogue (English/German; also published in Czech, Hungarian and Polish). Innsbruck, Austria: University of Innsbruck, Canadian Studies Centre, 2002. McPherson, Anne, and Judith Nasby. Lois Etherington Betteridge. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2000. Mendes, Ross. Joyce Wieland, Independent Canadian Art Show. Exhibition catalogue. Guelph: University of Guelph Art Gallery, 1972. BIBLIOGRAPHY

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Milroy, Sarah, Janet Morton, Melanie A. Townsend, and Dawn Owen. Janet Morton: Entwine. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2012. Nasby, Judith. The Armstrong Collection of Canadian Art. Exhibition brochure. Guelph: University of Guelph Art Gallery, 1969. – Canada in the Victorian Image, 1837–1887. Exhibition catalogue. Guelph: University of Guelph Art Gallery, 1975. – Contemporary Inuit Drawings: The Gift Collection of Frederick and Lucy S. Herman. Exhibition catalogue. Williamsburg, va : The College of William and Mary in Virginia, 1993. – Contemporary Painting from Chongqing. Exhibition catalogue (English/Chinese). Chongqing, China: Sichuan Fine Arts Institute, 2008. – Entre Signos, Símbolos y Se ales. Exhibition catalogue. Panama City: Casa Cultural Huellas, 2010. – Guelph Artists 2002. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2002. – “Horse Brasses.” Canadian Collector (November/December): 1983, 49–52. – Irene Avaalaaqiaq: Myth and Reality. Montreal and Kingston: McGill-Queen’s University Press, 2002. – Lillian Freiman: Paintings and Drawings. Exhibition catalogue. Kingston: Agnes Etherington Art Centre, 1978. – “Macdonald Stewart Art Centre.” Canadian Collector 5 (September/October 1980). – “A Painter of Guelph: David Johnston Kennedy.” Canadian Collector (July/August 1976): 26–31. – Qamanittuaq Drawings. Exhibition catalogue (English/Inuktitut syllabics; also translated into Hindi and Spanish). Guelph: Macdonald Stewart Art Centre, 1998. – Rolph Scarlett: Painter, Designer, Jeweller. Montreal and Kingston: McGill-Queen’s University Press, 2004. – Selections from the Canadian Collection. Exhibition brochure. Guelph: Macdonald Stewart Art Centre, 1980. – The University of Guelph Art Collection: A Catalogue of Paintings, Drawings, Prints, and Sculpture. Guelph: University of Guelph, 1980. – “Victoriana.” Canadian Collector (September/October 1975): 64–9. – Visitors, Exiles and Residents. Exhibition catalogue. Guelph: University of Guelph Art Gallery, 1977. Nasby, Judith, and George Wallace. An Old Fart’s View of a Floating World. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1992. Nasby, Judith, and Gu Xiong. The Sickle and the Cell Phone. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2006.

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Owen, Dawn. Ryan Price: …draw while…. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2006. – Susan Dobson: Rememory. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2008. Owen, Dawn, and John Kissick. Cheryl Ruddock: Slip. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2010. Pearson, Craig, and Judith Nasby. The Cultivated Landscape: An Exploration of Art and Agriculture. Montreal and Kingston: McGill-Queen’s University Press, 2008. “Picture Fund.” oac Review (September 1927): 41. “Pictures in the Dining Hall.” oac Review 41 (November 1928): 103. Reid, Dennis R. A Concise History of Canadian Painting. Toronto: Oxford University Press, 1973. Reitzenstein, Reinhard. The Test Tubes (compact disc). Reinhard Reitzenstein, Jacques Israelievitch, Jesse Stewart, and Gayle Young (composers). Uxbridge, Ontario: Spool, 1997. Roberts, Catsou, and Jean-Christophe Royoux. Perfect Speed. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 1995. Rodin and His Contemporaries. Exhibition catalogue. Toronto: Rothmans of Pall Mall Canada, 1970. Ross, Alexander M. The College on the Hill: A History of the Ontario Agricultural College, 1874–1974. Toronto: Copp Clarke, 1974. Soucy, Jean, and Jean Trudel. Religious Art of Quebec. Exhibition catalogue. Guelph: University of Guelph Art Gallery, 1969. Spencer, Flora Macdonald. Evan Macdonald: A Painter’s Life. Waterloo, Ontario: Wilfrid Laurier University Press, 2008. Stewart, Jesse, and Dawn Owen. Jesse Stewart: Wheels of Time. Exhibition catalogue. Guelph: Macdonald Stewart Art Centre, 2003. Witkin Gallery. Photography 1845–1970. Exhibition checklist. New York: n.p., 1972.

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Index

Page numbers in italics refer to illustrations. Alber, Beth, 98–9, 101 armorial bearings, 44, 45 Armstrong, Herbert S., 44 Ashevak, Kenojuak, 61, 63 Avaalaaqiaq, Irene, 70–2, 70 Bachinski/Chu Print Study Collection, 11–12, 13–14 Baker Lake. See Qamani’tuaq Barbeau, Lynn, 30, 42, 44, 46, 47, 107 Barros, Anne, 80, 81 beadwork. See First Nations beadwork Bedwash, Richard, 32, 33–4 Beneth, Doris, 76 Bensen, Bill and Wynn, 73, 190n2 (chap. 4) Betteridge, Lois Etherington, 10–11, 79, 79–80 Beyond the Frame auction, 55 Blodgett, Jean, 70, 73 Blount Canada, 61 Bond, Eleanor, 57, 58 Brimmell, Helen, 56 Brink, Andrew and Helen, 80–5 Buyers, Jane, 99, 102, 104 Cameron, Eric, 27–8 Campbell, Nancy, 50–2, 68, 107 Canadian silver, contemporary, 79–80 Cape Dorset. See Kinngait

Caracas, Venezuela, 78 Casson, A.J., 9, 42 Cavoukian, Artin, 16 Chawner, Allan, 59, 61 Chinese art, contemporary, 85–8 Chubb, Andrew, 59, 61 Coalface 1900, 25, 26 Couling, Gordon, 11, 13–14, 190n1 (chap. 4) Danby, Ken, 56, 57, 59 Davis, Premier William (Bill), 41, 41 Detwiler, Susan, 107, 110 Dobson, Susan, 59, 62, 107 Drenters, Andreas, 49, 49–50 Drenters, Yosef, 49–50 Drive, The, Tom Thomson, 3–5, 4, 16–17, 42 Dryden, Margaret, 13–14 du Maurier Arts, 98 Dyck, Aganetha, 52 Eloul, Kosso, 96 Embera, 78 Etrog, Sorel, 14–15, 15 European prints, historical, 80–5 fastwürms, 111–13, 112 Feng, Bin, 87, 90 First Nations beadwork, 88–90, 92–3, 120 Fischlin, Daniel, 113–14 Flack, Robert, 50, 51, 54 Forster, Donald F., 38, 41, 72, 94

Freiman, Lillian, 19–20 Galbraith, John Kenneth, 3 Gardenscapes, 54 Goldschmidt, Nicholas, 21, 23 Gordon, Elizabeth, 43 Graham, K.M., 47, 48 Greer, John, 102 Gu, Beili, Pig King, 87, 88 Gu, Xiong, 85, 85, 99 Guelph, City of, 30, 35, 37, 41, 56, 115–16, 117 Guelph Creative Arts Association, 56, 190n1 (chap. 4) Guelph Jazz Festival, 111, 190n1 (chap. 6) Guelph Spring Festival, 21, 23, 29, 190n5 (chap. 2) Guna Yala, 74–5 Hammill, Kenneth, 37, 61 Harrison, Verne, 53–4, 68, 98–9, 100 Herman, Fred and Lucy, 72 Hoodless, Adelaide, 10 horse brasses, 19, 20 Housser, Yvonne McKague, 9, 17 Innsbruck, Austria, 73–4 internships, 52–3 Isaacs, Avrom, 20, 23 Isaacs, Renann, 20–1 Israelievitch, Jacques, 55, 111 Jackson, A.Y., 7–8 Jackson, Marion E., 67 Jaipur, India, 73

199

Jenkner, Ingrid, 47–50, 107 Jerome, Frederick N., 18 Jones, Jacobine, 6 Kandinsky, Wassily, 12, 12 Kantule, Oswaldo DeLeon, 74–5, 77 Kehm, Walter, 96 Kennedy, David Johnston, 30 Kinngait (Cape Dorset), 47, 63–5 Kirwin, Chandler, 47, 52, 53, 70, 72 Kuna, 74–5, 76–7 Loring, Frances, 10, 11, 96, 97 Lorrain, Claude, 82, 84 Li, Chengzhi, 87, 92 Liu, Ping, 87, 91 Luo, Zhongli, 86–7 MacArthur, Eileen, 113 Macdonald, Evan, George Sydney Smith, 8, 8 Macdonald, Sir William, 35–8, 36 Macdonald Consolidated School, 30, 35–41, 36, 38, 98, 102 Macdonald Institute, 9–11, 14, 102, 189n11 Macdonald Stewart Foundation, 30, 43 MacKinnon, A.M. (Murdo), 13–14, 18, 21, 24 Matthews, Lois, 73 McCabe, Shauna, 117 Middlebrook Prize, 114–15 Moriyama, Raymond, 39, 40 Morrisseau, Norval, 33–4, 75 Morton, Janet, 56, 95, 99, 107 Moser, Sybille-Karin, 73 Naprstek Museum, 74 Noah, William, 67, 102, 105, 105 Ontario Agricultural College (oac), 3–9, 16, 44, 82, 189n1 (chap. 1), 189n2 (chap. 2)

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Ontario Veterinary College (ovc), 9, 10, 11, 16, 19, 43, 58, 189n15 Oonark, Jessie, 65, 66, 105 Owen, Dawn, 89, 107, 114–15, 117 Owinggayak, Winnie, 69 Palmer, Samuel, 83, 84 Panama City, 71, 74–5 Partridge, Florence, 7, 18–19, 102 Penny, Evan, 98–9, 101, 103, 117 Peteran, Gord, 99, 105–6, 106 photography, 13, 25–7, 27, 111 Pootoogook, Annie, 52, 65, 66 Potter, Paulus, 82, 84 President’s House, 6, 8, 18, 59, 72–3 Pudlat, Pudlo, 63, 64–5 Qamani’tuaq (Baker Lake), 65–72, 74, 102 Reid, William Burkitt, 88–90 Reitzenstein, Reinhard, 102, 111 Roberts, Catsou, 52 Robinson, Eufrocina, 76 Rodin, 22, 23 Rokeby, David, 50 Rothmans of Pall Mall, 23 Russell, Don, 99, 115, 116 Ryan, Terry, 64 Scarlett, Rolph, 30–3, 32, 43, 59 School of Fine Art and Music, 12, 59, 109, 111, 113 school tours, 46 Scott, Brian, 50, 98–9, 102, 104 sculpture park, 7, 24, 38, 41, 49–50, 54, 56, 86; commissions, 102–6; competitions, 98–101; concept and setting, 94–6 Seth (Gregory Gallant), 59, 60 Sichuan Fine Arts Institute, 86–7 Shakespeare Made in Canada, 113–14

Shuebrook, Ron, 57, 59 Skelton, Carl, Canadiana/ Begging Bear, 53–4, 99, 106, 117, 118 Smith, George Sydney, 8, 8 Smith, Naomi, 88–90, 120 Smylitopoulos, Christina, 12, 85 Snow, Michael, 20–1, 20 Stevenson, O.J., 2, 3–7 Stewart, David Macdonald, 30, 37, 41, 41–3 Stewart, Liliane, 43 Sullivan, Derek, 98–9 Summerlee, Alastair, 72–3 Suzor-Cote, Marc-Aurele de Foy, 5, 5–6, 42 Tagoona, David, 67, 69 Thomson, Ken, 5 Thomson, Tom, 3–5, 4, 16, 24, 42, 48, 49 Tookoome, Simon, 68 Trudel, Jean, 21 Tuu’luq, Marion, 67, 69 University of Guelph, 11, 13, 38–42, 56, 102, 111, 117 Upper Grand District School Board (Wellington County Board of Education), 38–41 Urquhart, Tony, 98–101, 100 volunteers, 44, 54 Watson Ellis, Susan, 80, 81 Webster, Sally Qimmiu’naaq, 70 Wellington County, 38, 41, 44, 117 Wieland, Joyce, 20, 23–5, 25, 28 Wiens, Robert, 98–9, 99 Wilhelm, Kate, 107–9, 109 Winegard, W.C., 17–18, 23 Witkin, Lee, 25–7 Wyle, Florence, 10–11, 11, 97, 97 Zhu, Yaying, 87–8, 89