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Colette Whiten (Birmingham, England 1945- ) is a Toronto-based sculptor and educator.

Robert Fones (born in London, Ontario, 1949) is a visual artist, curator, writer, designer and educator. Employing a strong ethnographical and archaeological component in his work, Fones uses sculpture, painting, woodblock printmaking, typography and photography to investigate the transition from manual to industrial production, and the hidden processes and impacts of geological and cultural change within contemporary society. Since 1976 he has lived and worked in Toronto, represented variously by Carmen Lamanna
Gallery, S.L. Simpson Gallery and (currently) Olga Korper Gallery. He has exhibited at artist-run centres and public institutions throughout Canada and, internationally, in the USA and Germany. His work is held by the National Gallery of Canada, the Art Gallery of Ontario and other public and corporate collections. Fones is an active participant in the visual arts community, having served on the board of the Art Gallery of Ontario, C Magazine Foundation and the Acquisitions Committee of the Design Exchange. He curated an exhibition for The Power Plant on the work of Toronto furniture designer, Russell Spanner, and Cutout: Greg Curnoe, Shaped Collages 1965–1968 for Museum London. He has written extensively
about art and artists such as Greg Curnoe, Murray Favro, Donald Judd and John Massey. Fones has taught at OCAD University, the Faculty of Architecture, Landscape, and Design at the University of Toronto, and in the Art and Art History Program at Sheridan College. He has published numerous reviews and articles in Vanguard, C Magazine, Parachute and other publications, published several artist books, participated in several poetry readings across the country; and undertaken several design and public art projects. He received the Toronto Arts Award in 1999 and the Governor General’s Award in Visual and Media Arts in 2011.

Barbara Astman (1950- ) is a Toronto-based artist who has worked in a wide range of photographic and mixed-media formats. Born in Rochester (NY), Astman was educated at the Rochester Institute of Technology School for American Craftsmen and, after moving to Toronto in 1970, the Ontario College of Art. She was a pioneer in the field of colour xerography, and her practice has included a mix of camera art, new media, sculpture and light projection installations. Thematically, her work has explored issues of identity, history, memory, systems of representation and gender perspectives, often involving her own body as a subject. She has executed a number of public art commissions for clients including the Calgary Winter Olympics, the City of Ottawa (St. Laurent Complex Recreation Project), Hayter Street Developments (Bay/Hayter Condominiums, Toronto) and Cadillac Fairview Corporation (Simcoe Place, Toronto). Astman is now a professor at the Ontario College of Art and Design in Toronto, where she has been teaching since the mid-1970s. She is represented by the Corkin Gallery. Her work is found in prominent public collections including the National Gallery of Canada, The Art Gallery of Ontario, The Bibliotheque Nationale (Paris, France), and the Victoria and Albert Museum.

Dr. Yehoshua (Shieky) Brownstone is a photographer in London, Ontario. He was formerly a Professor in the Biochemistry Department at the University of Western Ontario.

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.

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.

John Hamilton Bush (1909–1977), primarily known as Jack Bush, was a Canadian painter best known for his Abstract Expressionist style. Born in Toronto, he lived in London, Ont. and Montreal during his early years. Jack Bush began his career in advertising, working in his father’s firm, Rapid Electro Type Company in Montreal. During this time, he studied at the Art Association of Montreal with Edmund Dyonnet and Adam Sherriff Scott. In 1928, he transferred to the company’s office in Toronto, where he took evening classes under Frederick Challener, John Alfsen and Charles Comfort at the Ontario College of Art. Bush’s early work as a painter was influenced by Comfort and the Group of Seven, and throughout the 1930s and ‘40s he produced largely landscape and figurative paintings. His first exhibition was with the Ontario Society of Artists in Toronto in 1936.
In 1934, Jack Bush married Mabel Mills Teakle, a family friend from Montreal, and together they had three sons, Jack Jr (b. 1936), Robert (b. 1938) and Terry (b. 1942). In 1953, dissatisfied with Canada’s place in the international contemporary art scene, Bush and several other Toronto abstract artists founded the group Painters Eleven. William Ronald, another member of Painters Eleven, and an artist who had worked in New York, introduced U.S. art critic Clement Greenberg to the group, which led to a lasting friendship between Bush and Greenberg. The contact with Greenberg in 1957 led to Bush’s international breakthrough in the early 1960s, beginning with his 1962 exhibition at the Robert Elkon Gallery in New York. Between the late 1950s and mid ‘60s, Bush painted in loose brushstrokes with diluted oils, staining paint onto unprimed canvas. In 1966, concerned by the health hazards associated with oil-based paints, he switched to water-based acrylics, less textured than oils but more brightly coloured.
In 1964, Jack Bush’s work was included in Greenberg’s Post-Painterly Abstraction at the Los Angeles County Museum, an exhibition that travelled to Minneapolis and Toronto. Along with Jacques Hurtubise, Bush represented Canada at the Bienal de São Paulo (Brazil) in 1967. In the year preceding his death in 1977 (from a heart attack), he received the Order of Canada. That same year, the Art Gallery of Ontario mounted a retrospective exhibition of his abstract works that travelled to several Canadian galleries. Jack Bush’s work is in the collections of the Art Gallery of Ontario, the National Gallery of Canada, the Montreal Museum of Fine Arts, Boston’s Museum of Fine Arts, London’s Tate Gallery and others.

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.