Showing 222 results

Authority record

Art Directors Club, Toronto

  • http://viaf.org/viaf/1918145857118222922442
  • Corporate body
  • 1947-1993

The Art Directors Club, Toronto (active 1947–1993), now the Advertising and Design Club of Canada, was a trade organization the first aim of which was “to promote the use of better art as applied to commerce and industry.” Its membership, initially around 25 and limited in 1958 to 90 members, consisted chiefly of art directors, commercial artists, photographers and typographers. After its charter was granted in January 1948, the club elected Robin Cumine, Leslie Trevor, John Belknap, O.K. Schenk and Eric Heathcote as officers for 1948–1949. Harry Caverhill, Charles Comfort, Stanley Cooper and Leslie Wookey served on the first executive committee. Presidents of the Art Directors Club, Toronto mentioned in club correspondence were Leslie Trevor and Gerald Moses. Similar organizations existed in Vancouver, Montreal, New York and elsewhere.
The first Art Directors Club, Toronto (ADCT) exhibition was held at Eatons Fine Art Galleries in Toronto in April 1949. In that year, the club first published reproductions of submissions to the exhibition in its Annual of advertising and editorial art (1949–1964). Issues of the annual included lists of artists in the exhibition and names of members of the club.
The club also administered the Oscar Cahén Memorial Award for accomplishment in the art of industry and commerce, named after Canadian painter (member of the Painters Eleven) and illustrator Oscar Cahén (1916–1956).
During the 1950s, ADCT exhibitions of advertising and editorial art were held at the Art Gallery of Toronto, now the Art Gallery of Ontario (AGO).

Loring, Frances

  • http://viaf.org/viaf/20480965
  • Person
  • 1887-1968

Frances Norma Loring, sculptor, was born in Wardner, Idaho October 14, 1887. She studied sculpture in Geneva, Munich and Paris 1901-1905. In 1905 at the Art Institute of Chicago, she met Florence Wyle with whom she subsequently shared studios in New York (1909-1912) and Toronto (1912-1966). A member in 1920 of the Ontario Society of Artists, she was a founding member (1928) of the Sculptors' Society of Canada and a chief organizer of the Federation of Canadian Artists and the National Arts Council. Among her best-known public monuments are the lion of the Queen Elizabeth Monument in Toronto (originally near the entrance to the Queen Elizabeth Way) and war memorials at St Stephen, New Brunswick and Cambridge (formerly Galt), Ontario. Frances Loring died in Newmarket, Ontario February 3, 1968. Florence Wyle, sculptor, was born in Trenton, Illinois November 24, 1881. While studying at the School of the Art Institute of Chicago in 1905, she met Frances Loring, with whom she later moved to New York. Loring moved to Canada in 1912, where Wyle joined her the following year. They each produced a considerable body of work in their studio, a converted church, in Toronto. A member of the Ontario Society of Artists (1920), Wyle was the first woman sculptor to become a full member of the Royal Canadian Academy. She was also a published writer (Poems, 1958). Among her public sculptures is the relief of Edith Cavell on the grounds of the Toronto General Hospital. Florence Wyle died in Newmarket, Ontario January 13, 1968. Loring & Wyle’s works are in the collections of the Art Gallery of Ontario, the National Gallery of Canada and the Canadian War Museum and in several public and private buildings in Ontario.

Thomson, Tom

  • http://viaf.org/viaf/20482356
  • Person
  • 1877-1917

Zontal, Jorge

  • http://viaf.org/viaf/20567473
  • Person
  • 1944-1994

Grigor, Angela Nairne

  • http://viaf.org/viaf/21815063
  • Person
  • 1926-

Angela Nairne Grigor is a writer and art educator living in Picton, Ontario. Born in Britain, she attended the Wimbledon School of Art and the Brighton College of Art. She became a Canadian citizen in 1974 and received her MA and PhD from Concordia University in 1982 and 1985, respectively. She worked as a travelling art specialist for five years in England, and taught in Canadian high schools and at Concordia University. She has also exhibited her own drawings, soft sculptures and textiles. She began her research on Arthur Lismer’s teaching career in the 1980’s, and her book, Arthur Lismer, visionary art educator, was published by the McGill-Queen’s University Press in 2002. In that year she was awarded the Prix des Fondateurs de L’Association Canadienne de Histoire de l’Education for the best work in English.

Hagan, Frederick

  • http://viaf.org/viaf/25860986
  • Person
  • 1918-2003

Robert Frederick Hagan, painter, printmaker and educator, was born in Toronto, Ontario in 1918. He was educated at Central Technical School (Toronto) and the Ontario College of Art. From 1941-1946, Hagan was employed as Resident Artist and Master at Pickering College in Newmarket, Ontario. In the spring of 1946, Hagan journeyed to New York for further studies. Later the same year, he began teaching at the Ontario College of Art. In 1955 he became Head of Printmaking, a position which he held until his retirement in 1983. Frederick Hagan has held memberships in the Canadian Society of Graphic Art (of which he was made an Honourary Member in 1965), the Canadian Society of Painter-Etchers and Engravers, the Ontario Society of Artists, and the Print and Drawing Council of Canada. His work is in the collections of numerous Canadian galleries.

Schaefer, Carl

  • http://viaf.org/viaf/26093774
  • Person
  • 1903-1995

Carl Fellman Schaefer (1903-1995) was a Canadian artist and educator known for his depictions of rural Ontario. John(Jack) Martin (1904-1965) was a British-born Canadian artist, designer and educator. The two, who were friends and colleagues, exchanged letters in illustrated envelopes from circa 1954 until Martin’s death.

Chitty, Elizabeth

  • http://viaf.org/viaf/261928302
  • Person
  • 1953-

Elizabeth Chitty (1953-) is an interdisciplinary artist with a focus on performance, installation, video, sound, photography, and dance. She was born in St. Catharines, Ontario and completed an Honours B.A. in Fine Art, Modern Dance Major at York University in 1975. During her early career in the late 70s and early 80s, she quickly became a central figure in the Toronto and Vancouver performance art and New Dance scenes and was associated with artist-run centres 15 Dance Lab, A Space, and Art Metropole. Works created during this period, such as Mover (1975), Drop (1976), and Lap (1977) expanded the vocabulary of dance to explore force and linear movement, often to the point of emotional risk and violence. Using the movement of digital images, sound, and the body, Chitty addressed themes of information technology, media deconstruction, the grammar and syntax of performance, and feminism's relationship with sexual agency. She also experimented with video, producing single-channel video artworks (Telling Tales [1979]) as well as incorporating the use of both closed circuit and pre-recorded video in her performance works (History, Colour TV & You [1981]). In the late 80s she shifted her focus from staged, interdisciplinary solo performances to the creation of large-scale multimedia spectacles such as Moral/Passion (1985) and landscape-based installations such as Lake (1990). Inspired by her own Buddhist practice, many of her works have explored the relationship between the body and consciousness to question how we perceive the world, our thoughts, and emotions (Nature of the Body [1996]). In 1988, Chitty moved back to the Niagara Peninsula, where she has resided ever since. At this time, she began her long-standing involvement with Indigenous communities in the region and assisted with the development of the local community justice program, Winds of Change Women’s Drum Group. The community-based strategies and walking projects that have appeared in Chitty's artistic works since the 90s (Progress of the Body [1997], Earth's Flesh [2003], Daylighting [2016], Confluence Field Trips [2016], The Grass is Still Green [2017]) are a reflection of her reconciliatory work, as she considers water and its management, concepts of governance and ownership of public space, traditional territory, embodied knowledge, displacement, and historical and contemporary marginalized space and narratives.

In addition to her artistic practice, Chitty has also held roles as an arts administrator, educator, editor, and producer. From 1976-1978, she was the editor for Spill, a magazine published by 15 Dance Lab about the New Dance movement. She was the Chair of Trinity Square Video (1982), Managing Director of the Association of National Non-profit Artist-run Centres (1982-1984), Executive Director of St. Catharines and Area Arts Council (2004-2008), and Executive Director of the Canadian Alliance of Dance Artists, Ontario Chapter (2008-2011). From 1991-2007, Chitty taught Creative Process at the School of the Toronto Dance Theatre. She was a video/media curator for Western Front (1980-1981) and went on to found Cultural Desire Projects (1985-1990) which produced major works by Chitty, Randy & Berenicci, Tanya Mars, and Vera Frenkel.

Chitty has performed and exhibited her work widely across Canada and also internationally in the United Kingdom, the United States, and France. Her video artworks Demo Model (1978), Telling Tales (1979), Desire Control (1981) and Dogmachine (1981), and T.V.Love (1982) are in the collection of the National Gallery of Canada. In 2017, her exhibition The Grass is Still Green was awarded "Exhibit of the Year" at the Ontario Association of Art Galleries' annual awards gala.

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