Page, P. K. (1916–2010)

2018 ◽  
Author(s):  
Conrad Scott
Keyword(s):  
Visual Art ◽  
Visual Quality ◽  
National Gallery ◽  
Art Gallery ◽  
Self Reflection ◽  
Artistic Production ◽  
Non Fiction ◽  
The World ◽  
National Gallery Of Canada ◽  
Art Gallery Of Ontario

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.

scholarly journals Digitizing Snow:

2021 ◽  
Author(s):  
Christophe Jivraj
Keyword(s):  
National Gallery ◽  
Cultural Institutions ◽  
Art Gallery ◽  
Use Of Time ◽  
Current State ◽  
Museum Professionals ◽  
Reproduction Process ◽  
Digital Reproduction ◽  
National Gallery Of Canada ◽  
Art Gallery Of Ontario

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.

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

2021 ◽  
Vol 6 (2) ◽  
Author(s):  
Jeff Thomas
Keyword(s):  
National Gallery ◽  
Art Gallery ◽  
Royal Ontario Museum ◽  
National Gallery Of Canada ◽  
Art Gallery Of Ontario

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.

scholarly journals Digitizing Snow:

2021 ◽  
Author(s):  
Christophe Jivraj
Keyword(s):  
National Gallery ◽  
Cultural Institutions ◽  
Art Gallery ◽  
Use Of Time ◽  
Current State ◽  
Museum Professionals ◽  
Reproduction Process ◽  
Digital Reproduction ◽  
National Gallery Of Canada ◽  
Art Gallery Of Ontario

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.

The National Gallery of Zimbabwe

2018 ◽  
Author(s):  
Amanda H. Hellman
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Modern Art ◽  
Art Museum ◽  
National Gallery ◽  
Art Gallery ◽  
Art And Design ◽  
Southern Rhodesia ◽  
One Year ◽  
Contemporary Artists

The National Gallery of Zimbabwe is an art museum in Harare dedicated to collecting, preserving, and promoting Zimbabwean visual culture. Though the collection focuses on contemporary artists from Zimbabwe, its holdings are diverse, containing traditional and contemporary African along with European Old Master paintings—a reflection of the acquisition interests of the first director. Sir James Gordon McDonald (1867–1942), a friend and biographer of Cecil Rhodes, gifted £30,000 to found an art gallery in 1943. Ten years later in 1953 a board was established to raise funds, build the museum, and select a director. In 1956, Scotsman Frank McEwen (1907–1994) was appointed to the post of director. The Rhodes National Gallery was opened on 16 July 1957 in Salisbury, Southern Rhodesia (renamed Harare, Zimbabwe in 1980). The institution changed its name to the National Gallery of Rhodesia in 1972, one year prior to McEwen’s resignation. One of McEwan’s projects was the Rhodes National Gallery Workshop School. Artists who participated in this early workshop, such as Thomas Mukarobgwa and John and Bernard Takawira, helped define Zimbabwean modern art. After Zimbabwe gained independence in 1980 the National Gallery developed the BAT Workshop, which became the National Gallery School of Visual Art and Design in 2012.

scholarly journals Presentation of Playing the Stars

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 ◽  
National Gallery Of Canada ◽  
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.

Artists in Canada: a national resource1

2001 ◽  
Vol 26 (2) ◽  
pp. 38-42
Author(s):  
Jo Nordley Beglo ◽  
Cyndie Campbell
Keyword(s):  
World Wide Web ◽  
World Wide ◽  
National Gallery ◽  
Art Galleries ◽  
Biographical Information ◽  
The World ◽  
National Gallery Of Canada ◽  
Print Format

Artists in Canada is a bilingual union list of documentation files on Canadian artists held by the National Gallery of Canada Library, and by 22 libraries and art galleries across the country. More than 42,700 artists are represented, with biographical information as well as locations for files. Originally compiled manually, Artists in Canada has been automated since the late 1970s and, as well as appearing in print format, has been accessible internationally on the World Wide Web since 1995.

The National Gallery of Canada Catalogue of European Drawings

1966 ◽  
Vol 48 (1) ◽  
pp. 115
Author(s):  
Dwight C. Miller ◽  
A. E. Popham ◽  
K. M. Fenwick
Keyword(s):  
National Gallery ◽  
National Gallery Of Canada
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