Digitizing Snow:

This thesis looks at the current state of digital reproductions for contemporary photographic artworks—how they are made, the purposes they serve, and how they are disseminated by cultural institutions. Using four selected photographic installation artworks by Canadian artist Michael Snow, this research examines how museums pursue reproductions of artworks that are installative by design and possess elements that are not easily reproducible like sound or the use of time. The reproduction process and terminology used at the Art Gallery of Ontario and the National Gallery of Canada (two institutions with significant collections of Snow’s artworks) are both examined, as well as how digital reproduction is currently discussed and theorized by museum professionals and digital specialists. Reproductions are used for outreach, research, advertising, and conservation, but between texts and institutions alike there lacks consistent terminologies and purposes for reproductions due to the dearth of research into this type of imagery.

Pierre Théberge, Guido Molinari. Ottawa, National Gallery of Canada, 1976. 160 pp., illus. ,$17.50 (paper) Terry Fenton, Jack Bush: A Retrospective. Toronto, Yorkville Press and Art Gallery of Ontario, 1976. Unpaginated, illus., $9.95 (paper)

RACAR Revue d art canadienne ◽

10.7202/1077363ar ◽

1977 ◽

Vol 4 (2) ◽

pp. 105

Author(s):

Joyce Zemans

Keyword(s):

National Gallery ◽

Art Gallery ◽

An Interview with Jeff Thomas, about “Buffalo Robe” Standing in Front of the Louvre

Mouvances Francophones ◽

10.5206/mf.v6i2.13704 ◽

2021 ◽

Vol 6 (2) ◽

Author(s):

Jeff Thomas

Keyword(s):

National Gallery ◽

Art Gallery ◽

Royal Ontario Museum ◽

Jeff Tomas répond aux questions suscitées par son cliché photographique qui met en scène le découpe d’un guerrier des plaines Améridien, que le photographe nomme « Buffalo Robe », planté devant l’esplanade du Louvre. Ses expositions ont été faites aux galeries suivantes: Art Gallery of Mississauga, Mississauga, Ontario; the Art Gallery of Ontario, Toronto, Ontario; the Royal Ontario Museum, Toronto, Ontario; the Robert McLaughlin Gallery, Oshawa, Ontario; the National Gallery of Canada, Ottawa, Ontario. Ses travaux tendent à mettre en question la constitution des identités canadiennes et amérindiennes.

The Prints of David Milne. Reflections in a Quiet Pool: The Prints of David Milne / Reflets dans un miroir d’eau : Estampes de David Milne. An exhibition held at the National Gallery of Canada, Ottawa, 13 November 1980 - 1 January 1981, and at the Art Gallery of Greater Victoria and the Art Gallery of Ontario

RACAR Revue d art canadienne ◽

10.7202/1075363ar ◽

1981 ◽

Vol 8 (1) ◽

pp. 60

Author(s):

Ann Davis

Keyword(s):

National Gallery ◽

Art Gallery ◽

Page, P. K. (1916–2010)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem120-1 ◽

2018 ◽

Author(s):

Conrad Scott

Keyword(s):

Visual Art ◽

Visual Quality ◽

National Gallery ◽

Art Gallery ◽

Self Reflection ◽

Artistic Production ◽

Non Fiction ◽

The World ◽

Patricia Kathleen Page described herself as a traveller, and invoked this status through both her poetry (under P. K. Page), and her visual art (under her married name, P. K. Irwin). Her experiences informed her work and changed her understanding of both poetic and artistic production: as she learned the former, she more fully developed the latter. Travel gave her other means with which to satisfy her creative output, but most importantly, travel necessarily made her an observer; perception has been her primary interest from poetry to paint to prose. As she comments in her non-fiction essay ‘A Writer’s Life,’ ‘I believe art has two functions: a lower and a higher. The lower is invaluable. It shows us ourselves — Picasso’s Guernica, for example. The higher — more valuable still, in my view — gives us glimpses of another order’. Alternatively a poet, writer, and artist (and prolific on all counts), P. K. displayed a supremely imagistic and visual quality that underlines her devotion to observing the world in new ways and to self-reflection. Page has had her written work published in over three dozen books of poetry, fiction, and non-fiction (including children’s literature), and has had her visual art collected in several permanent collections in Canada — including those of the National Gallery of Canada and the Art Gallery of Ontario.

The Currency of Alex Colville. Alex Colville, AGO, 23 August 2014 to 4 January 2015, National Gallery of Canada 23 April to 7 September 2015, curated by Andrew Hunter; and Andrew Hunter, ed., Colville, exhibition catalogue Art Gallery of Ontario and National Gallery, Goose Lane Editions, 2014, hardcover, 168 pp., $45.00. ISBN: 9780864920171

RACAR Revue d art canadienne ◽

10.7202/1032762ar ◽

2015 ◽

Vol 40 (1) ◽

pp. 108

Author(s):

Andrea Terry

Keyword(s):

National Gallery ◽

Art Gallery ◽

The national role of the Library of the National Gallery of Canada

Art Libraries Journal ◽

10.1017/s0307472200008671 ◽

1994 ◽

Vol 19 (1) ◽

pp. 27-29

Author(s):

Murray Waddington

Keyword(s):

Task Force ◽

National Gallery ◽

Cultural Institutions ◽

Financial Situation ◽

Shared Attention ◽

Funding Sources ◽

National Task ◽

Local Use

The financial situation of cultural institutions is becoming increasingly perilous, and two years into its new national mandate the Library of the National Gallery of Canada finds its resources absorbed by internal needs and local use. To sustain a vital presence in the community of art information specialists the Library must restrict its contributions to those which have modest or no resource imperatives: generously shared collections; well conceived services which are publicized and accessible; strengthened cataloguing to be shared; attention to preservation; development of expertise to be shared with colleagues and students; initiation and promotion of collaborative projects. As a federal body the National Gallery of Canada is excluded from funding sources available to others, but will support the projects of others. A national task force is needed to outline and develop a Canadian strategic plan for art libraries.

Presentation of Playing the Stars

10.46472/cc.01216.0275 ◽

2012 ◽

Vol 16 (1 and 2) ◽

pp. 443-450

Author(s):

Toby MacLennan

Keyword(s):

New York ◽

New York City ◽

Musical Score ◽

Art Gallery ◽

The People ◽

Star Chamber ◽

Art Gallery Of Ontario ◽

Village Voice ◽

The Village

This talk reports on a performance of the planetarium event Singing the stars with sculptures, which was performed at the H.R. Macmillan Planetarium in Vancouver and the Seneca College Planetarium in Ontario. Subsequent performances were done at the Art Gallery of Ontario, P.S.1, New York City, the 10th International Sculpture Conference, Toronto, and The National Gallery of Canada. It was reviewed in the Village Voice, Arts Canada, The New Art Examiner, Vanguard Magazine, and CBC Radio: Out of the belly of Vancouver’s H.R. Macmillan Planetarium, the star-making machine rises to the star chamber, carrying three musicians with their instruments, and three sculptures. Atop each sculpture is an overhanging frame of five wooden bars, which acts as a musical score. Lights go down over the planetarium audience. Stars move across the sky. Only the constellations and the luminous bars atop the sculptures are visible. Swept up by the grandeur of the constellations, the musicians look up through the bars atop their sculptures and give a concert playing the stars. The concert is inspired by a story from my book, Singing the Stars. A village of people has lost the power of night, which once resided within them. The people attempt to lure the night back with the help of sculptures, which will enable them to play and sing the stars. They hope that, lured by the music, the night will come close to their faces, and bits of darkness will fall into their ears, eyes and mouths and gradually fill up their bodies with the night sky.