Showing 222 results

Authority record

Gallery 44 Centre for Contemporary Photography

  • http://viaf.org/viaf/139471037
  • Corporate body
  • 1979-

Gallery 44 Centre for Contemporary Photography is a non-profit, artist-run centre dedicated to photography and located in Toronto. Originally known as The Niagara Street Photographers’ Centre and Workspace of Toronto, the collective ran a gallery space called Gallery 44. The organization was also sometimes known as Photo 44. The collective was founded in September 1979 by a group of photographic artists with a need for shared darkroom and studio space and to create an environment supportive of photography and its evolving practices. They were incorporated in October 1984. The collective offers opportunities to its members, national and international artists to exhibit and publish their work and also provides educational programming, non-commercial traditional darkroom facilities and digital imaging services.
Gallery 44 Centre for Contemporary Photography was originally located at 109 Niagara Street, where they first began mounting exhibitions and offering photography workshops. In 1986 they moved to 183 Bathurst Street to provide larger facilities to their growing membership. The Education in the Schools program was initiated in 1987 to provide photographic education at the elementary and secondary school levels. In 1994, they moved to their current location at 401 Richmond Street West. 401 Richmond is a hub for the local arts community housing artist-run centres, galleries, arts organizations and artist studios. Gallery 44 Centre for Contemporary Photography continues to support the photographic community by offering affordable darkroom rentals, digital imaging services, exhibition space, workshops, artist residencies, print sales, hosting portfolio reviews and publishing catalogues and books.

Chromazone (Group of artists)

  • http://viaf.org/viaf/139480346
  • Corporate body
  • 1981-1985

The ChromaZone/Chromatique Collective was a collaborative group of emerging Canadian artists that created and exhibited art in Toronto between 1981 and 1985. The Collective was founded in 1981 and consisted of six members: Andy Fabo, Sybil Goldstein, Oliver Girling, Tony Wilson, H.P. Marti and Rae Johnson.

Between September 1981 and May 1983, the collective operated out of their gallery space ChromaZone/ Chromatique, located at 320 Spadina Ave, Toronto. Their inaugural exhibition Mondo Chroma opened in September 1981. Between 1981 and May 1983, the Collective mounted 45 varying cultural events including exhibitions, poetry readings, banquets and fashion shows. In 1982, the Collective published their first publication ChromaZone/Chromatique (Prototype), and participated in Monumenta, a collaboration among four galleries, including ChromaZone/Chromatique, which showcased current representational art in Toronto through the work of 75 artists. In December 1982, the Collective curated and participated in OKROMAZONE - Die Anderen Von Kanada held at the Institut Unzeit in West Berlin as a direct reaction to the Canadian Government’s OKanada cultural festival in Berlin. This exhibition featured the work of 22 contemporary Toronto artists.

In May 1983, the Collective closed their gallery space to give the members more time to focus on their own work and larger collective projects. In October, the Collective exhibited together at the Norman MacKenzie Art Gallery in Regina and later that month opened Chromaliving, a month-long exhibition of 150 artists in the vacant 10,000 square feet space at 131 Bloor St. W, Toronto, recently vacated by the Harridges Department store. This exhibition, co-curated by Tim Jocelyn and Andy Fabo, sought to showcase the merging of art and lifestyle and featured furniture, fashion and painting. In 1984, the group continued to present exhibitions including Kromalaffin, a show of comic book art (Grunwald Gallery, Toronto); ChromaZone/Chromatique, a traveling exhibition of members’ work (Concordia University and other venues across Quebec); Cross OT: Seven From Berlin, Berlin Super 8 and Berlin Video (several venues in Toronto); and Painting Beyond the Zone, a group exhibition of 30 emerging artists (Artists Resource Centre, Toronto).

In 1985, members of the Collective largely moved away from Toronto with Andy Fabo, Tim Jocelyn and Sybil Goldstein relocating to New York City, and H.P. Marti moving to Zurich. ChromaZone’s final exhibition Fire + Ice was an exchange of Toronto and Zurich artists held at Galerie Walcheturm in Zurich. The Collective officially disbanded in 1986, after the death of Tim Jocelyn from AIDS in December of that year. Sybil Goldstein founded and chaired the Tim Jocelyn Art Foundation after his death.

Vale, Florence

  • http://viaf.org/viaf/141855514
  • Person
  • 1909-2003

Florence Vale, Canadian artist, was born on April 18, 1909 in llford, Essex, England and died on July 23, 2003 in Toronto, Ontario, Canada. Her family immigrated to Toronto two years after her birth, where she grew up with an interest in music. She married artist Albert Franck on June 8, 1929, and together they bought a house on Hazelton Avenue in Toronto which became a centre for artists, writers, musicians, and critics. Florence Vale was the mother of two children, Trudy (who died as an infant) and Anneke.
Florence Vale began to paint with her husband’s paints and brushes in the late 1940’s with no previous artistic training-only what she had learned under the influence of her husband and the artists who visited her home. Her art was influenced by Surrealism, Cubism, Expressionism, and the works of Paul Klee. After her husband’s death in 1973, Florence Vale continued to express her artistic ability with oil paints, collages, and ink, also including her own poetry in some of her works. Many of her works, most prominently after the death of her husband, were erotic, while still viewed by critics as keeping a whimsical, innocent tone. Her art appeared in exhibitions throughout Ontario, with exhibitions also in Quebec and New York, U.S.A. She was associated with the Gadatsy Gallery, Toronto.

Southcott, Beth

  • http://viaf.org/viaf/1440591
  • Person
  • 1923-2004

Beth (Mary Elizabeth) Southcott, née Woolger, 1923-2004, was an amateur artist and art writer based in the Clarkson area of Mississauga. She was interested in visual art throughout her life, taking courses as a child at the (then) Art Gallery of Toronto and the Ontario College of Art, and later serving as the director of Visual Arts Mississauga. Southcott became interested in Indigenous art as an outcome of a course she took at Erindale College (now University of Toronto Mississauga) in 1975. Her book The Sound of the Drum is an original contribution to the historiography of Anishinaabe art and its reception by settler audiences.

Society of Canadian Painter-Etchers and Engravers

  • http://viaf.org/viaf/145342340
  • Corporate body
  • 1916-1976

The Society of Canadian Painter-Etchers and Engravers (CPE) was founded in 1916 as a successor to the short-lived Association of Canadian Etchers, founded in 1885. The Society began holding annual exhibitions in 1919 at the Art Gallery of Toronto. Usually these were part of larger exhibitions. The Society held exhibitions in other locations in Toronto from 1933 to 1959. The Society was formally incorporated on 1935. Between 1960 and 1974 the Society's annual exhibitions were each held in a different city in Ontario. The Society merged with the Canadian Society of Graphic Art in 1976 to form the Print and Drawing Council of Canada.

Baldwin Street Gallery

  • http://viaf.org/viaf/146003608
  • Corporate body
  • 1969-1978

The Baldwin Street Gallery of Photography, also known as Baldwin Street Gallery, was Canada's first independent photography gallery and was founded by John F. Phillips (1945-2010) and Laura Jones (1948-) in June, 1969. Its first location was at 23 Baldwin St. in Toronto, a house Phillips and Jones rented after immigrating to Canada from the United States during the Vietnam War. In 1968, Phillips and Jones had opened their home as an informal daycare and photography school for neighbourhood children, called the Baldwin Street Club. The couple were volunteers of the Company of Young Canadians which funded the educational project alongside the National Film Board. After a year and a half, the club became a gallery for the exhibition of independent photography, though they continued to teach children's photography courses throughout the lifespan of Baldwin Street Gallery. Jones and Phillips ran the Gallery on the first floor of the house, lived on the second floor, and offered a women's only darkroom in the basement in response to the number of men's only darkrooms in Toronto.
Jones and Phillips dedicated much of their own photography towards documenting the everyday lives of those who lived on Baldwin Street, which at the time was comprised largely of immigrants such as themselves. Notably, the couple photographed and were involved with the 1970 Hydro Block Protests during which the community successfully blocked a proposal for an 18 story hydro transformer station to be built on Baldwin Street. The Gallery was an extension of their own socially concerned photography, and was dedicated to supporting and exhibiting the work of documentary photographers that served to further honest expression, rather than to profit or exploit. The Gallery curated photography exhibits of primarily Canadian photographers such as Barbara Astman, Pamela Harris, Jeremy Taylor, and Marian Bancroft though it also featured travelling exhibits from American photographers such as Barbara Morgan and Nikolaus Walter. In addition to being a key space for exhibition, the Gallery also became an essential meeting place for photographers, a center that carried information about the photography field at large, a bookstore and library, and an informal photography school offering educational workshops and courses.
In 1972, after Phillips began teaching photography full-time at York University and left his role as co-director, the Gallery was run co-operatively run by the Women in Photography Co-op, comprised of June Greenberg, Judy Holman, Laura Jones, Pamela Harris, Liz Maunsell, Lynn Murray, Linda Rosenbaum, and Lisa Steele. Frustrated by sexism in the photography industry and the lack of representation of women photographers, the Women in Photography Co-op curated the exhibit "Photographs of Women by Women" for the University of Toronto's Festival of Women. In response to a call-out for photographs by women about women, the Co-op received over 1,500 photographs from women in Canada and the United States of which they selected 230 for the exhibit.
In 1973, with many of the members of the Co-op pursuing other projects, the Gallery was run primarily by Laura Jones with occasional assistance from other members. In 1974, the landlord of 23 Baldwin Street sold the property and served Jones and Phillips an eviction notice which forced the gallery to close. The gallery continued to function in various pop-up locations and in 1978 was situated at 38 Baldwin Street for a year. After the final closure of the Gallery, due to economic pressure, its emphasis shifted towards the creation of photography exhibitions for other galleries and institutions and the sale of photographs for publication.

Gershon Iskowitz Foundation

  • http://viaf.org/viaf/147987102
  • Corporate body
  • 1985-

The Gershon Iskowitz Foundation was started by artist Gershon Iskowitz in 1985, with the mandate of awarding the Gershon Iskowitz Prize to a mature practising artist; since 2007 the Foundation has partnered with the Art Gallery of Ontario to administer the Gershon Iskowitz Prize at the AGO.

Moos, David

  • http://viaf.org/viaf/14847739
  • Person
  • 1965-

Experiments in Art and Technology

  • http://viaf.org/viaf/148900320
  • Corporate body
  • 1966-2000s

Experiments in Art and Technology (E.A.T.) was founded in September, 1966 as a not-for-profit organization to promote cooperation among artists, engineers and industry on projects involving both art and technology. Members included Billy Klüver, Robert Rauschenberg, Robert Whitman, Fred Waldhauer, among many others. In 1977 the documents of E.A.T. were assembled, reproduced, and distributed to several libraries and museums throughout the world.

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