Showing 39 results

Authority record
Corporate body

Workscene Gallery

  • http://viaf.org/viaf/134811458
  • Corporate body
  • 1974-1995

Workscene Gallery was a non-profit, artist-run co-operative gallery in Toronto, 1974-1995. It originally provided studio space and a venue for exhibitions of members’ works, later expanding to exhibiting other artists’ works and curated exhibitions. Members were responsible for all programming and administration with individual artists responsible for content, installation and promotion of exhibitions. Members were required to have a strong art practice, to provide financial support through membership fees and be committed to promoting the arts community.
The co-operative was incorporated May 16, 1974 as Workscene Co-operative Corporation with the following directors: Gissa Geraldine Gold, Ian James Shaw, James Henry Tiley, Robert John Varty and Badanna Bernice Zack. In May 1988, the corporation was re-activated by the current group of artist members who began operating the Workscene Galley at 1020 Queen Street West as an exhibition space. This storefront gallery was formerly the Ruby-Fiorino Gallery and the co-operative remained in this space until the lease expired at the end of August 1990. In September 1990, Workscene Gallery relocated to 183 Bathurst Street, a building which was a focal point at that time for Toronto’s arts community and housed other artist-run centres, arts organizations and magazines. Workscene Co-operative Corporation also produced a magazine as an independent program, Work Seen Artists Forum, to provide a forum for artists to write about their work and issues of concern. In the summer of 1992 the magazine became a separate entity with no ties to the Workscene Gallery, changing its name to Artword Artists Forum.
Workscene Co-operative Corporation was dissolved in February 1992. Workscene Gallery Art Association Toronto Inc. was formed in June 1992 with the following directors: Jocelyne Regina Belcourt Salem (President), Yvonne Maria Eva Singer (1st Vice President), Ian David Lazarus (2nd Vice President), David John Renaud (Treasurer), and Sheila Ann Gregory (Secretary). The final exhibition of Workscene Gallery ended January 28, 1995. Workscene ceased operations permanently in 1995.

Women's Cultural Building

  • Corporate body
  • 1981-1997

The Women’s Cultural Building (WCB) was a feminist cultural organization, or women’s collective, that aimed to initiate and support artistic projects and programmes promoting community and feminist concerns. It emerged with the intention of salvaging the presence of a Toronto women’s cultural centre following the dissolution of the Pauline McGibbon Centre in November 1981. The collective from the onset encouraged inclusive membership and collaborative programming, aiming to “develop a critical framework that functions within a feminist discourse by placing work in a social, political and aesthetic context.” The WCB was most active during the years 1982-1984.
Collective members included Kay Armitage, Rene Baert, Carole Conde, Christine Curlin, Rosemary Donegan, Susan Feldman, Colette Gagnon, Lina Fratticelli, Cynthia Grant, Janice Hladki, Johanna Householder, Sandra Janz, Kerri Kwinter, Tanya Mars, Joyce Mason, Christina Ritchie, Tanya Rosenberg, Lisa Steele, Nesya Shapiro and Susan Swan, among others.
Notable WCB programmes include the “Women Building Culture” festival, which included a series of events such as the “Womanfilm” film festival, the “Pork Roasts” exhibitions, “Storefronting” installations, the “Edible Art Show”, the “Five Minute Feminist Cabaret”, as well as a number of performances, talks, and slideshows. Other WCB activities and projects included the Women’s Info Hotline, panel discussions, workshops, toolkits, benefit concerts, poetry readings, window displays, independent film screenings and a resource video library. The collective began activity in November 1981, incorporated in March 1983, and ceased activity in approximately March 1997. The subsequent collective decision to transfer WCB archives to the Women’s Art Resource Center in the late 1990s was celebrated with a final exhibition titled “Building Women’s Culture: Women’s Cultural Building - Selections from the Archive.”
It is important to note that the use of the word “Building” in the collective’s name referred primarily to the verb. Though they did acquire a storefront headquarters for a brief period, the collective organized predominantly in the homes of its members and satellite spaces. The WCB launched their storefront headquarters and gallery at 563 Queen Street West with the Pork Roast’s exhibition on March 14th, 1983. Other possible locations referenced in the papers are 350 College Street, Suite 1 and 984 Queen Street West. Satellite spaces and venues that hosted WCB events included the A.R.C. gallery, A Space, Cameron Tavern, Dufflet Pastries, Nightwood Theatre, Nine Forty, Pages, Pelican, Stagger Lee’s, the Rivoli, Bloor Cinema, and the Centre for Contemporary Photography.

Women's Committee

  • Corporate body
  • 1945-1998

Formed by Lady Kemp in 1945 at the request of the Art Gallery of Toronto’s (now the Art Gallery of Ontario) President of the Council, the Women’s Committee functioned to foster interest in the Art Gallery of Toronto, promote membership, and host fundraising activities. These high-level functions distinguished the volunteers on the Women’s Committee from the volunteer docents and other volunteer roles within the Gallery. The Committee reported directly to the AGT’s governing council and included some of Toronto’s most prominent women. Over the years, the Committee managed many projects and consisted of the following sub-committees: Education, Art Rental, Membership, Gallery Shop, Grange Restoration, Purchasing, Men’s Luncheon, Exhibitions, House, Communications, and Nominations.

In 1950, the Women’s Committee formed the Junior Women’s Committee to provide mentorship opportunities for younger women. The Junior Women’s Committee provided help to the Women’s Committee with various annual events such as the Men’s Luncheon.

In 1974, the Women’s Committee was renamed the Volunteer Committee and the Junior Women’s Committee renamed the Junior Volunteer Committee in an attempt to be more inclusive and reach out to more members. No other significant changes were made to either Committee otherwise.

The Board of Trustees disbanded both Committees in 1998, and their functions were taken over by departments of paid staff within the Gallery. Another volunteer committee oversaw the work of docents.

Women's Art Resource Centre

  • http://viaf.org/viaf/158578610
  • Corporate body
  • ca. 1984 - 2015

The Women's Art Resource Centre (WARC) was a nonprofit, artist run organization founded in 1984 in Toronto, Ontario with the goal of addressing the effacement of women from art history.
Dedicated to advancing contemporary Canadian women's art practice and recognition, WARC's activities included establishing gallery spaces and organizing exhibitions, public discussions and educational programming, professional development opportunities, conferences, the publication of Matriart magazine (1990-[1999?]), a survey of gender representation at the National Gallery of Canada (“Who Counts and Who’s Counting”), as well as the development of a Curatorial Research Library documenting women artists. WARC was dissolved in 2015.

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.

Royal Canadian Academy of Arts

  • http://viaf.org/viaf/153134885
  • Corporate body
  • 1880-

The Royal Canadian Academy of Arts is an honourary organization of established professional artists and designers from all regions of Canada. Members practice in more than thirty visual arts disciplines including but not limited to painting, print-making, architecture, sculpture, design, photography, ceramics, film, video, and digital art.

Pollock Gallery (Toronto, Ont.)

  • Corporate body
  • 1960-1981

The Pollock Gallery (active 1960–1981), was a commercial art gallery in Toronto established by art dealer, author, art educator and painter Jack Pollock. First located at 205 Elizabeth St in downtown Toronto in 1960, the gallery initially represented Canadian artists, most notably Norval Morrisseau. In 1966, the gallery showed works by the Hungarian-Canadian painter Julius Marosan. Later, works by British and American and other artists were exhibited, including those by David Hockney, Willem de Kooning, Anni Albers and Dieter Roth.
Within a year, the gallery relocated to 201 Elizabeth St (1961–1963), then 599 Markham St (1963–1971, with another site at 604A King St West 1966–1968), 356 Dundas St West (1972–1975, with another site at the Toronto Dominion Centre 1972–1973), and lastly 122 Scollard St in the Yorkville area of Toronto (1975–1982, with another site, 209 Adelaide St East 1980–1983). During its years of activity, the gallery employed Brian A. Marshall Schieder, Philip Ottenbrite (assistant director), Eva Quan, Frank Costin, Laurie Payne (graphic director), Helen Boyd, Renya Onasick (advertising and publicity), Lawrence Hurst (gallery administrator), Stephen Long (librarian) and others. Within months after Jack Pollock became chronically ill, the main gallery officially closed in December, 1981; the Pollock Gallery went into bankruptcy in 1983.

Pleasure Dome (Toronto, Ont.)

  • http://viaf.org/viaf/159397882
  • Corporate body
  • 1989-

Pleasure Dome (active 1989– ), also operating as Artists Film Exhibition Group (Ontario), is an exhibitor of experimental and independent motion pictures and video recordings in Toronto, administered by an artistic collective. The original collective, comprising Jonathan Pollard, Barbara Sternberg, Gary Popovich, Phil Hoffman and Michael Hoolboom, presented its first program 22 Sept. 1989 at the Euclid Theatre in Toronto. Since then, Pleasure Dome has presented as many as 17 exhibitions per year, with works varying in length from less than 5 minutes to over an hour.
While it was in principle a requirement of the provincial government that publicly-exhibited motion pictures be approved by a board of examiners, the collective nonetheless declined to submit films and videos to the Ontario Film Review Board (previously the Ontario Censor Board) for approval as a matter of policy.
Annual membership subscriptions for Pleasure Dome events were introduced in the third season (1991–1992). Film and video exhibitions and associated lectures have been held in various locations in downtown Toronto apart from the Euclid Theatre (which closed ca. 1994), including chiefly Cinecycle, but also Latvian House, Jackman Hall at the Art Gallery of Ontario and others.

Photo Eclipse (group of artists)

  • Corporate body
  • 1992-2000

Photo Eclipse was a group of photographers who operated The Photo Passage gallery at Harbourfront Centre, Toronto, from 1992 to 2000. Founding members Pamela Harris, Judy Whalen and Henry Jablonski organized themselves in the spring of 1992 upon learning that The Photographers Workshop (Gallery TPW) planned to relocate their exhibition space from Harbourfront, and recognizing a resulting loss to the photography community. Calling themselves initially the Committee for the Continuation of Photography at Harbourfront, and later the Curved Wall Collective, the group settled on the name Photo Eclipse. They successfully petitioned Harbourfront for use of the gallery space, naming it The Photo Passage and opening their first exhibition in November of 1992. Other group members included David Hlynsky, Elaine Ling, Vince Pietropaolo, Judith Sandiford, Irena Schön, John Scully, Volker Seding and Jane Watson. Photo Eclipse was active until 2000, mounting more than 30 exhibitions over the course of that time.

Ontario Society of Artists

  • http://viaf.org/viaf/127764652
  • Corporate body
  • 1872-

Established in 1872, the Ontario Society of Artists is Canada’s longest continuing art society. It is a professional association for visual artists who live and work across Ontario with a mandate to promote the visual arts through exhibitions, special projects and arts advocacy.

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