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William John Wood (1877-1954) was a Canadian artist known for simple genre paintings and for his friendship with members of the Group of Seven. He studied briefly at the Ontario College of Art, and lived in Orillia and Midland, Ontario, among other places.

Frances Loring (1887-1968) and Florence Wyle (1881-1968) were Canadian sculptors. Frances Loring was born in Wardner, Idaho. She studied art in Europe as well as Chicago, Boston, and New York. Florence Wyle was born in Trenton, Illinois, and studied medicine at the University of Illinois and then art at the Art Institute of Chicago, where she later taught classes. She then worked in New York where she shared a studio with Frances Loring. Loring and Wyle moved to Toronto in 1912, and in 1920 bought an old church and converted it into a studio. Loring and Wyle were both active in Canadian art movements and were founding members of the Sculptors Society of Canada in 1928. Their work can be seen at the National Gallery in Ottawa, Art Gallery of Toronto, and in the streets of Toronto on such buildings as the Toronto General Hospital and Timothy Eaton Memorial Church, and on memorials in small towns in Ontario, New Brunswick and Maine.

Maud Eleanor Yarker (1867-1912) was a Canadian painter who was born in the province of Ontario and lived in the Toronto area. She died in Toronto (in the former York, Ont.) in 1912.

Extension Services’ primary responsibility was to coordinate and circulate exhibitions, lectures, and instructional programs throughout Ontario, as a part of the AGO’s mandate to support and advance visual arts across the province.
Extension Services began in 1968, when the Art Institute of Ontario disbanded and its programs were taken over by the Education and Extension Services Branch, with Alan Toff as Extension Services Officer. In 1969, Claire Haggan (later Watson) assumed the role of Extension Officer and later Coordinator of Extension Services. Gene Butt replaced Claire Watson as Coordinator of Extension Services in 1974, with Nancy Hushion taking over the role in 1975.
In 1976, Extension Services became its own division. Nancy Hushion continued as head of Extension Services until 1979 when Penny-Lynn Grossman assumed the role of division head.
In 1981 Extension Services became a department within the Curatorial Branch, with Glenda Milrod now as department head and Marcie Lawrence joining as Program Coordinator.
In 1992/1993, Extension Services became a department in the newly formed Education, Outreach, and Public Programming Division. Glenda Milrod remained as head of the department and Marcie Lawrence continued as Program Coordinator.
Extension Services disbanded in 1995/1996 when the Education, Outreach, and Public Programming Division became part of the Curatorial Division.

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.

Originator: Nasgaard/Fleming/Celante.

D’Arcy Boulton, Jr. (1785–1846) and his wife, Sarah Anne (née Robinson), (1789–1863) built the Grange House in 1817 and lived there with their eight children John Andrew (1810?-1830), William Henry (1812-1874), D’Arcy Edward (1814-1885), Beverley Robert (?-1840), Mary Sayer (1816-1837), Emma Robinson (1818-1890), Sarah Ann (1824?-1906), and John (1829-1882).

Both sides of the family were members of the powerful elite in Upper Canada - Sarah Anne’s brother was Chief Justice John Beverley Robinson, the leader of the Family Compact, and Boultons and their friends enjoyed influence, favourable business dealings, and Crown appointments.

D’Arcy had trained as a lawyer but worked as a merchant with his brother-in-law, Peter Robinson. Once settled in The Grange he retired and became a landowner. He also held minor government positions.

Their eldest surviving son, William (1812–1874), continued to live in the house. He also trained and practised as a lawyer. William was also an alderman, was appointed mayor of Toronto four times and was a member of parliament.

In 1846, William married Harriet Dixon (1825–1909), a Bostonian from a wealthy family. They had no children. After William’s death, Harriet married scholar and political writer Goldwin Smith (1823–1910). Harriet left the Grange House to the Art Museum of Toronto (now the Art Gallery of Ontario) in her will.

Laura Jones is a photographer, writer and activist based for much of her career in Toronto.

Suzy Lake (born Detroit, Michigan, 1947) is a visual artist and educator whose work uses photoconceptual, performance and video strategies to examine and critique ideals of the body, gender and identity. She immigrated to Montreal in 1968, following the 1967 Detroit riots, and became a founding member of the artist-run centre Véhicule. Lake’s career has been based in Toronto since the late 1970s. She has taught at the University of Guelph since 1988. Her work is in numerous major public collections including those of the National Gallery of Canada, Art Gallery of Ontario, Winnipeg Art Gallery and Montreal Museum of Fine Art.

Peggy Gale (b.1944) is an independent curator, critic, and writer based in Toronto who specializes in contemporary time-based and media art. Gale studied at the Università degli Studi (Florence, Italy, 1965-66) and graduated from the University of Toronto with an honours BA in 1967. She then worked at the Art Gallery of Ontario from 1967 to 1974, first in the Audio Visual Library and then as an Education Officer, where she was responsible for originating and coordinating all lectures, concerts, films, and performance events. She served as the Assistant Film and Video Officer at the Canada Council (1974-75), returning to Toronto to act as the Video/Film director at Art Metropole from 1975 to 79. From 1980 to 1982, Gale served as the executive director of A Space. She returned to Art Metropole as Special Projects Coordinator from 1985 to 1987, and again in 2001-02 as Acting Director. As an art writer, Gale was a regular contributor to Parachute magazine (Montreal) and has been writing for Canadian Art since 1986. She has edited three books in the “By Artists” series published by Art Metropole, in addition to Video re/View: The (best) Source for Critical Writings on Canadian Artists' Video in collaboration with Lisa Steele (1996). Gale’s work as an independent curator includes Videoscape (1974), a monumental exhibition of video art at the AGO and the first of its kind in Canada. Other notable curatorial projects include: InVideo (Dalhousie Art Gallery 1977, Art Gallery of Ontario 1978, Winnipeg Art Gallery 1978), OKanada (curator of performance art, Berlin 1983), Electronic Landscapes (National Gallery of Canada 1989), Northern Lights (The Canadian Embassy in Tokyo 1991) co-curated with Akihiko Morishita, Ecstatic Memory (Art Gallery of Ontario 1996-97), and the Biennale de Montréal (2014), co-curated with Gregory Burke. Gale is married to the artist Michael Snow.