National Gallery of Canada Number 18, June 2011 … · National Gallery of Canada Number 18, ......

Exhibitions from the National Gallery of Canada

National Gallery of Canada Number 18, June 2011

In This Issue

NGC@ . . . . . . . . . . . . . . . . . . . . . . . .3

Louise Bourgeois 1911–2010 . . . . . .4

Misled by Nature: ContemporaryArt and the Baroque . . . . . . . . . . . . .5

NGC@Venice

Steven ShearerExhume to Consume . . . . . . . . . . .6

On TOur

Made in America 1900 – 1950 . . . . .7

Clash: Conflict and Its Consequences . . . . . . . . . . . . . . .8

Don’t Stop Me Now! . . . . . . . . . . . .9

Fred Herzog Street Photography . . . . . . . . . . . .10

Drawing Modernity from renoir to Picasso . . . . . . . . . .11

Theatre and the Circus in the Art of Laura Knight . . . . . . .12

Contemporary Drawingsfrom the National Galleryof Canada . . . . . . . . . . . . . . . . . . . .13

19th-Century British Photographsfrom the National Gallery of Canada . . . . . . . . . . . . . . . . . . . .14

The Master Silversmith of His EraLaurent Amiot . . . . . . . . . . . . . . . .14

Lectures . . . . . . . . . . . . . . . . . . . . .15

Educational Support . . . . . . . . . . . .16

Publications . . . . . . . . . . . . . . . . . .16

Gallery.ca: A New Look,

Feel and Experience . . . . . . . . . . . .17

ON TOur Technical Summary . . . .18

ON TOur Program . . . . . . . . . . . .20

TheArt Network

The Art Network2

Karen Colby-Stothart

Deputy Director

Exhibitions and Installations

Every few years a new issueemerges, and it provokes us tothink differently and refresh theway we run our exhibitions

Hungry buildings…program. Over a dozen newmuseums have been built andmajor expansion programsundertaken in the past decade,adding to the existing demand andcreating an unprecedented appetitefor access to the national collectionsin Canada. Our new NGC@

program is, in part, a response to this appetite and will start tobecome a regular feature.

This program favourscontemporary collections morethan others – due to our tremen -dous collection depth in this area –and we hope that it will enable

some of our more spectacularworks to be seen with greaterfrequency in major cities acrossCanada. Watch for a touringversion of the amazing upcoming2011 Canadian project at theVenice Biennale, Exhume to

Consume, by Steven Shearer,organized this year by the NGC.You can also look forward to Misled

by Nature – featuring spectacularworks by Lee Bul, David Altmejd,and others – and a beautifulhomage to Louise Bourgeois,celebrating the 100th anniversaryof her birth and including the

We gratefully acknowledge the Distinguished Patrons of the National Gallery of CanadaFoundation On Tour Endowment,which continues to enhance theGallery’s ability to deliver this vitaltravelling exhi bitions program toCanadian museums and galleries

In Support of the Gallery’s Travelling Exhibitions Program

from coast to coast to coast. This ongoing commitment to makethe national collection accessible to Canadians across the country is remarkable in its generosity, and we gratefully acknowledge the Patrons’ contribution to the On Tour program.

Gallery’s recent acquisition of a late work, Cell – The Last Climb.

We haven’t neglected the classicOn Tour program. As you’ll see inthis issue, our latest projects fromthe Photography, Prints andDrawings, Canadian, Indigenous,Contem porary, and othercollections are fresh, smart, and fabulous.

We are broadly expanding our electronic outreach. As the year unfolds, watch for newmaterial being added constantly.Please send us feedback throughThe Art Network!

Cover image:

Steven Shearer1900, 2005NGC, Ottawa. Purchased 2006 with the Joy Thomson Fund for the Acquisition of Art by Young Canadian Artists, NGC Foundation © Steven ShearerPhoto: robert Keziere

Marc Mayer

Director and CEO

National Gallery of Canada

Eighteen years after our firstissue of On Tour – and with varied

The Art Networkprogram initiatives, activities, and technology linking us in new ways – we have become acountry-wide art network asnever before. As one of the largestand oldest touring exhibitionprograms in the world, we’repleased to update the breadth of our programming and to bring some innovations to ourtraditional framework.

We’ve introduced a format to permit expanded, long-termrelationships with the Gallery and

complex programming at adifferent price point than ourclassic, on-demand program.We’ve also pumped up thevolume on our electronic and Internet-based offerings. read about the NGC@ partnerprogram, which includes AGA,MOCCA, and soon the WAG;the powerful new consolidatedwebsite, Gallery.ca; and ourclassic, reasonably priced On Tour travelling exhibitionprogram in the pages that follow.

We love our new name and all that it represents, movingforward. The Art Network

connects us to art through ideas,exchanges, program information,and incomparable access tooriginal art from our ever-expanding national collections in continually evolving ways.

Distinguished Patrons Acknowledgment

The Art Network | NGC@ 3

Over the past few years, the NGChas been exploring new outreachmodels within the context of itsongoing work with the Canadianart museum community. In 2010,two satellite programs wereinitiated, one at Edmonton’s ArtGallery of Alberta (NGC@AGA)and the other at Toronto’sMuseum of ContemporaryCanadian Art (NGC@MOCCA).This autumn, the Winnipeg ArtGallery (NGC@WAG) will be the third institution to join thisinnovative program. Partnershipsare three years in duration, based on a cost-recovery model,and intended to showcase thenational collections in a series ofprojects jointly organized by theNational Gallery of Canada andthe host museum.

Dedicated to serving Canadianvisitors outside the NationalCapital region, the NGCwelcomes this unique opportunityto vary the national outreachformat. It is designed to bringimportant works, with an emphasison contemporary and Canadianprojects, into the larger Canadianurban centres with strong visitorpotential and to provide improvedaccess and higher visibility for thenational collections.

In our newly updated NGC@ segment of this season’spublication, we bring news and project updates from thisinnovative section of the program.These recently constitutedpartnerships with AGA, MOCCA,and WAG provide an idealopportunity to support thevisionary endeavours of ourcolleagues across the county toconnect people, art, and ideas.

NGC@

From top to bottom:

The Museum of ContemporaryCanadian Art, Toronto

Photo © Fayiaz Chunara/MOCCA

The Winnipeg Art Gallery, WinnipegPhoto © Ernest Mayer, WAG

The Art Gallery of Alberta, EdmontonPhoto © robert Lemermeyer

NGC@AGA

Goya: The Disasters of War

and Los Caprichos

22 January – 30 May 2010

M.C. Escher: The Mathemagician18 June – 4 October 2010

Piranesi’s Prisons: Architecture of Mystery and Imagination18 June – 7 November 2010

The Symbolist Muse: A Selection of Prints from theNational Gallery of Canada19 November 2010 – 13 March 2011

Lawren Harris Abstractions26 March – 11 September 2011

19th-Century French Photographsfrom the National Gallery of Canada24 September 2011 – 29 January 2012

Icons of Modernism from theNational Gallery of Canada10 February – 20 May 2012

Louise Bourgeois 1911–20101 June – 28 October 2012

Misled By Nature: ContemporaryArt and the Baroque14 September 2012 – 6 January 2013

Baroque Prints14 September 2012 – 6 January 2013

NGC@MOCCA

Luis Jacob/Cabinet (NGC Toronto)4 February – 27 March 2011

Fred Herzog’s Vancouver1 May – 5 June 2011

This is Paradise/From the Collectionof the National Gallery of Canada24 June – 21 August 2011

NGC@WAG

Louise Bourgeois 1911–2010December 2012 – April 2013

The art world recently saidgoodbye to Louise Bourgeois, whopassed away on 31 May 2010 atthe age of 98. Her extraordinarycareer influenced many of the twentieth century’s majormovements in art and culture,from Surrealism to AbstractExpressionism, Minimalism andConceptualism to Feminism. The exhibition Louise Bourgeois

1911–2010 brings together worksfrom Bourgeois’s early creativeendeavours in New York and some of her final artisticstatements. Drawing on theNGC’s significant holdings andsupplemented by loans from the Louise Bourgeois Trust,

the presentation is inspired by herfirst solo show at New York’sPeridot Gallery in 1949–50, in which she introduced her now iconic wood and metal“personage” sculptures. Bourgeoiscreated these totemic spires asremembrances of friends andfamily left behind when sheimmigrated to New York City in1938 with her husband, the late art historian robert Goldwater. These vertically oriented formswere inspired by the awe-strikingdominance of the skyscraperssurrounding the couple’s modestapartment in their adoptedManhattan metropolis. One of thebest-known personages, Portrait of

Louise Bourgeois1911–2010

C.Y. (1947–49), now resides in theGallery’s permanent collection.

Also included in the exhibitionis Cell (The Last Climb), 2008, a significant recent installation bythe artist constructed around thespiral staircase from Bourgeois’sformer Brooklyn studio, enclosedwithin a rust-sheened structuredotted with celestial blue glassspheres that appear to rise towardthe sky. Spools lining the interiorspace of the sculpture spinthreaded metaphors of the artist’smany bonds with family, friends,colleagues, and confidants. Thework is a compelling ode to a lifelived by one of the past century’smost remarkable creative minds.

Louise BourgeoisCell (The Last Climb), 2008 NGC, Ottawa© Louise Bourgeois TrustPhoto © NGC

The Art Network | NGC@4

Louise Bourgeois 1911–2010

is organized by JonathanShaughnessy, Assistant Curator,Contemporary Art, NationalGallery of Canada, and will be onview at the new Art Gallery ofAlberta from 1 June to 28 October2012 and at the Winnipeg ArtGallery from December 2012through April 2013.

The Art Network | NGC@ 5

The eighteenth-century art historianJohann Joachim Winckelmannonce criticized Bernini’s exuberantaesthetic for being misguided andessentially “misled by nature.” Hiscritique stands as one of many that,until more recent times, repudiatedthe ornate excesses of the Baroqueperiod and its “deformed pearls” of art and architecture as adecadent, if not decayed, betrayal of renaissance achievements andaesthetic values. In the view of manyscholars, the historical Baroque is of strong relevance today as havingushered in the truly modern world.Misled by Nature: Contemporary Art

and the Baroque examines a range ofcontemporary artistic productiondefined through an emphasis onmaterial excess, accumulation,bravado, asymmetry, and theatri -cality. The presence of neo-Baroqueaffectation through processes ofornamentation, heavy glazing, theapplication of outdated techniques,and the use of a myriad variety ofcurios and aestheticized foundobjects have been recurrent facets ofcontemporary production in Canadaand internationally in recent years.

Such sentiment and ideas canbe found in many works recentlyacqui red for the NGC’s contem -porary art collection, from DavidAltmejd’s large-scale installation The Holes (2008), which combineshybrid subjects and reflective sur faces with elements of thegrotesque and the beautiful, toKorean artist Lee Bul’s After Bruno

Taut (Negative Capability), 2008,which reassesses a mysticalModernist vocabulary throughcheaply made shiny plastic bead -work. In many cases, the impact of such art is decidedly visual andprimeval, with artists creatingpower fully immersive environ -ments that are both cognizant of and reliant on the viewer’spsychological experience andunderstanding of the signs andsymbols of contemporary life.

This exhibition, drawn from theNGC’s permanent collections, willbe organized collaboratively by theNational Gallery of Canada andthe Art Gallery of Alberta, with a curatorial team composed of Josée Drouin-Brisebois, JonathanShaughnessy, and CatherineCrowston. Misled by Nature will bepresented at the Art Gallery ofAlberta from 14 September 2012 to 6 January 2013.

Misled by NatureContemporary Art and the Baroque

Lee BulAfter Bruno Taut

(Negative Capability), 2008Courtesy of the artist and Lehmann

Maupin Gallery, New YorkNGC, Ottawa. Photo © NGC

The Art Network | NGC@6

We are delighted to announce fulldetails of Steven Shearer’s presen -tation at the 54th Venice Biennale,organized by the National Gallery ofCanada and opening June 4, 2011.

This solo exhibition iscomposed of a selection of StevenShearer’s paintings, drawings, and sculptures, including newand never-before-seen works thatdraw on diverse influences such as art history, popular culture, and vernacular architecture.

On the approach to the CanadaPavilion, Shearer has created a nine-metre-high freestanding muralin response to the architecture of the adjacent British and Germanpavilions. The mural is part of analternate entrance to the Pavilion viaa tool-shed–like structure, one ofShearer’s signature motifs. Thismonumental façade features a newpoem written by the artist, based on the vocabulary of Black/Deathmetal music, that conjures thesublime, nihilistic power of languageand seeks to provoke a visceralresponse in viewers.

Inside the Pavilion, the exhib -ition presents 12 paintings, includingseveral of Shearer’s most recentworks; among these is The Fauves, in which the artist experiments witha variety of new techniques andexplores the theme of the artist and his muse. Also on display are 81 drawings, most of which havenever previously been shown. Theseworks suggest an alternative side ofdissent and social alienation, simul -tan eously exposing the vulnerabilityof the human subject and examiningits relationship with the outsideworld. In addition, the exhibitionfeatures one sculpture and a uniquebook of 127 poems.

Adopting and elaborating onstyles and themes specific to thehistory of figure painting, includingthose associated with Symbolism,Expressionism, and Fauvism,Shearer draws formal and thematicparallels between art history andforgotten or discarded aspects of society. He exhumes objects,images, and ideas from history butalso from his own past, reinfusingthem with meaning by insertingthem into a contemporary context.His work stems from his ongoingcompilation of thousands of imagesthat are culled from sources such asfanzines, online message boards, andimage shrines on personal websites.These fragmentary sources function

generatively as they are combinedand recycled across his work. Hisart elicits the psychic and emotivepotential within these images andtransforms them to reflect hissubjective experience.

Josée Drouin-Brisebois,Curator of Contemporary Art at the National Gallery of Canada, iscurator of the exhibition in Venice.The project is accompanied by a256-page full-colour publication,containing an essay and an in-depthinterview between Josée Drouin-Brisebois and the artist.

The exhibition is made possiblewith the support of the NationalGallery of Canada, the CanadaCouncil for the Arts, Aeroplan, the Canada Pavilion Patrons, and the Contemporary Art Circle of the National Gallery of Canada, as well as many other individuals,foundations, and corporations.

Canada’s representation at theVenice Biennale in 2011 is under the organizational direction of theNational Gallery of Canada. TheGallery is studying the possibility of returning to the role of organizer of Canadian representation for future years, and discussion with theCanada Council for the Arts and the broader visual arts community is ongoing.

Canada has participated in the Venice Biennale since 1952. In 1958, under the direction of theNational Gallery of Canada, famedItalian architect Enrico Peressutti,from the Milanese architectural firmStudio Architetti BBPR, designedand built the Canada Pavilion in theGiardini di Castello, at the heart ofthe exhibition grounds.

Visitor Information

Canada Pavilion, Giardini di Castello, 30122 Venice4 June–27 November 201110 am–6 pm Tuesday to Sunday.Closed MondaysVaporetto: Giardini

For more information on the CanadaPavilion at the 54th Venice Biennale,please visit: www.gallery.ca/venice.

NGC@VeniceSteven ShearerExhume to Consume

Steven Shearer

Poem for Venice, 2011

Courtesy of Galerie Eva Presenhuber,

Zurich. Photo © NGC

Steven Shearer

Moonlight, 2005

Courtesy of Stuart Shave/Modern Art,

London. © Steven Shearer

associated with Chicago’s Instituteof Design and later the rhodeIsland School of Design, illustratethe melding of formal awarenesswith personal expressiveness. robert Frank and Walker Evans,who turned their lenses on Americaitself as a subject, along with otherphotographers represented in Made

in America: Photographs 1900–1950,laid the ground for the fertileexploration of the medium in thesecond half of the twentiethcentury, the subject of anotherplanned exhibition in the series.

Made in America: Photographs

1900–1950, curated by Ann Thomas,Curator, Photographs, is the fourthin a series of exhibitions and cata -logues that bring the NationalGallery’s outstanding collection ofinternational photographs to ourpublic, focusing in particular on theareas with the greatest strengths.The first to be launched wasModernist Photographs, followed by19th-Century French Photographs, and19th-Century British Photographs.

• Available for tour from June 2012

• Space requirement: 126 linear metres (416 linear feet)

• Fee: $20,000

Approximately eighty photographs,including Ansel Adams’s influentialfive-part Surf Sequence (1940) andMinor White’s Song Without Words

(1947; printed 1960), celebrate the exceptional contribution thatAmerican photographers made tothe history of art during the firsthalf of the twentieth century.

The period from 1900 to 1950represented an extraordinarilyfertile period in the evolution ofphotography in the united States.During this time, a vocabulary forcritiquing photographic images wasdeveloped, the pros and cons of themedium were fiercely debated, and significant technical andtechnological strides were made.Photography was put to the test inalmost every aspect of its expressivepotential, from its various artisticmanifestations to its social andpolitical uses.

This exhibition includesstunning works by EdwardSteichen, Clarence White,Gertrude Käsebier, and AlfredStieglitz, as well as renownedPictorialists, all of whom wereadapting the processes andtechniques of photography towhat they considered to be moreexpressive and artistic ends,proving that the medium couldcompete with painting andtraditional printmaking. By the1930s, a new aesthetic known asstraight photography had takenhold, as had the more precisionistphotography that rejected soft-focus and painterly properties forcrisp clean lines. This can be seenin the work of Paul Strand, WalkerEvans, Edward Weston, BarbaraMorgan, and Imogen Cunningham.

The deployment of photographyto social and political ends is alsopart of this visual epic, starting withLewis Hine’s moving photographsof immigrants and child labourersand works by Margaret Bourke-White and Dorothea Lange. Anextension of this approach can be seen in photographs made bymembers of New York’s PhotoLeague documenting the vibrantmulticultural life on New YorkStreets, as well as in the photo -graphs of Berenice Abbott, LisetteModel, Weegee, and others.

Works by Harry Callahan andAaron Siskind, both of whom were

Made in America 1900–1950Photographs from the National Gallery of Canada

Alfred StieglitzThe Steerage, 1907, printed 1915

NGC, Ottawa. Gift of rosemarySpeirs, Ottawa, 1997, in memory of

Alan John Walker, Toronto© Georgia O’Keeffe

Museum/SODrAC (2011)

Edward WestonJuniper, Lake Tenaya, 1937

NGC, Ottawa. Photograph byEdward Weston. © 1981 Center for

Creative Photography, ArizonaBoard of regents

The Art Network | On TOur 7

On TOur

The Art Network | On TOur8

ClashConflict and Its Consequences

Drawing on works in the CMCP and NGC collections, thisexhibition addresses the subject ofwar and conflict in photography.Moving beyond depictions of thespectacle of battle, the exhibitionshows both the photographers’and the victims’ experiences. Thelegacy of wars and conflicts, suchas landmines, is also portrayed.How artists depict conflict throughthe filters of mass media and“postmemory” is another theme.

Central to this exhibition arephotography’s relationship withtrauma and remembrance, at the personal, communal, and national levels, and issues of what constitutes history, forwhom, and why. Curated byAndrea Kunard, AssociateCurator, Canadian Museum ofContemporary Photography, theshow contains fifty photographsand two videos.

Included are works byphotographers who have been inwar zones or areas of conflict,such as Sam Tata (fall ofShanghai, 1949), Dave Heath(Korea), robert ridgen(Vietnam), Larry Towell (El Salvador, Guatemala, andPalestine), rafael Goldchain

(El Salvador), Michael Mitchell(Nicaragua), Benoit Aquin(Kanesatake), and JayceSalloum (Lebanon/Beirut). The consequences of war andconflict are shown in the work of Jack Burman (Birkenau andAuschwitz), Peter MacCallum(Vimy), Jin-me Yoon (Korea),robert Del Tredici (Cold War),Mona Hatoum (Beirut), robertSemeniuk (landmine victims inAfghanistan, Cambodia, Angola),Guy Tillum (Angola), HiromiTsuchida (Hiroshima) and Frauke Eigen (Kosovo).

• Available for tour from June 2012


• Fee: $8,000

Larry Towell14-Day Conscripts, San Miguel,

El Salvador, 1988CMCP, Ottawa

rafael GoldchainRequiem for a Militant,

Matagalpa, Nicaragua, 1986CMCP, Ottawa© rafael Goldchain


One way that Indigenous peoplenegotiate their world is throughvarious modes of travel, producinga complicated and intricate relation - ship between the individual and theland. An “Aboriginal mobile world”now involves access to northerncommunities by air or by landthrough the use of atypical modes oftravel such as snowmobile or four-wheeler. This concept of Indigenousmobility also involves the sensoryexperience of time and space – theexperience of driving along the dirtroads of a reservation, as well as themovement from rural to urban, andhow the interstitial space betweenthese two parallel worlds is nego -tiated. How do individuals carrytheir identity with them? What islost, or gained, culturally when theyleave their community? Or, tofurther complicate matters, how do they engage with their own

traditional territory if they are not permanently living in thecommunity? Means of travel havenow become a representation ofsocio-economic reality, politicalidentity, and cultural practice, all ofwhich are carried by people as theymove through various physical,social, and cultural landscapes.

This group exhibition of workby Indigenous artists investigatesvarious concepts of travel andmobility, providing deeply personaland intimate arti culations of move -ment from their perspective of theworld around them. Works havebeen selected from the NationalGallery’s permanent collection ofIndigenous art, including works byFirst Nations and Inuit artists fromacross Canada and Indigenousartists from the united States andNew Zealand.

Curated by Daina Warren,2010–11 Canada CouncilAboriginal Curatorial resident atthe National Gallery of Canada,this exhibition includes drawings,prints, paintings (two large-scale),sculptures, and video installations.A 1,500-word essay publication,

Don’t Stop Me Now!Aboriginal Curatorial residency

Tim PitsiulakUntitled (Cockpit), 2008NGC, Ottawa. reproduced withpermission of Dorset Fine ArtsPhoto © NGC

Kevin Lee BurtonNikamowin (Song), 2007digital video disk (DVD)NGC, OttawaPhoto: Helen Haig-Brown

with a selection of illustratedartworks, will accompany thistouring exhibition.

The Aboriginal Curatorial residencyis made possible through the supportof the Canada Council for the Arts.

• Available for tour fromJanuary 2012

• Space requirement: 278–465 square metres(3,000–5,000 square feet)

• Fee: $15,000

10 The Art Network | On TOur

Fred HerzogStreet Photography

Fred HerzogFlâneur, Granville, 1960

CMCP, Ottawa

Since the 1950s, Fred Herzog hasphotographed the street life ofVancouver and other cities, oftenshooting hundreds of rolls of film a year. He made his living as amedical photographer; outside of his job, he would wander thestreets looking for the unexpectedevents that define city life. Herzogpreferred working-class neighbour -hoods and the downtown core,where he felt that the real pulse ofthe city existed. For the most part,he did not pose people but photo -graphed his subjects unawares,seeking out unusual scenes andspon taneous gestures.

At a time when “serious”photographers used only black-and-white film, Herzog usedKodachrome slide film to capturehis subject matter in full colour.The discordant clashes of colourand the texts of neon signs were aconstant inspiration. Second-handshops filled with bric-a-brac,newsstands, and the eccentricdisplays of mom-and-pop shopswere also favoured subjects. His photographs have a strongnostalgic appeal as documents,and they reveal the many changes

that have taken place inVancouver over the years.

Most important, they representan early example of photographs inCanada that exploit the propertiesof colour as expressive elements in themselves. Colour printing,however, was not well developedtechnically, and it was only with the advent of digitization and theinvention of ink-jet printing thatHerzog was satisfied that thechromaticity of the slides wasmatched in prints.

Curated by Andrea Kunard,Associate Curator, CanadianMuseum of ContemporaryPhotography, Fred Herzog, Street

Photography includes twenty-eightphotographs. By using recenttechnologies, Herzog has capturednot only the original Kodachrome“glow” of his original imagery, buta genuine sense of the times.

• Available for tour fromSeptember 2011


• Fee: $8,000

Fred HerzogJackpot, 1961

CMCP, Ottawa

11The Art Network | On TOur

DrawingModernity

from renoir to Picasso

Departing from the usual model ofpresenting the drawings collectionby school, this exhibition examineshow, in the late nineteenth and early twentieth centuries, artists from a broad variety ofbackgrounds used drawing toexplore new modes of portrayingreality, ultimately transforminghow we as viewers look at theworld and understand artisticpractice. During this period ofdramatic progress in the visual arts,drawing was freed from a strictlyacademic function as preparatorystudy to train the eye or guide the hand to become a conduit for challenging ideas aboutindividual expression.

Impressionist artists drew torecord the fleeting atmosphericaffects of landscape and the monu -mental in everyday experience.Odilon redon’s brooding andfantastic charcoal drawings called“Noirs” were conceived by a mindas teeming with fantasy as Goya’s;Gustav Klimt found in constantand obsessive drawing a means tomerge reality with the idealistaspiration for universal truth.

This exhibition will highlight therecent donation of a sketchbook byrenoir dating to 1857; containingsome of his earliest known works, itprovides an excellent introductionto the theme of innovative vision in drawing. With studies related to Jean-Honoré Fragonard, Eugène Delacroix, and NarcisseDiaz de la Peña, the sketchbookpresents a unique opportunity toexamine the moment in renoir’scareer when modernity began toinform his love of tradition. Theinclusion of later renoir drawings,including Gabrielle and Jean, c. 1895, will allow for comparisonwith the artist’s mature style. A broader examination ofImpressionist drawing will beoffered through works by EdgarDegas, Camille Pissarro, and Paul Cézanne, while works onpaper by Vincent van Gogh, HenriMatisse, Pablo Picasso, and otherswill provide a context for changes tonotions of aesthetic beauty.

Curated by John Collins,

Assistant Curator, Prints &Drawings, the exhibition consists of approximately fifty works, inclu d -ing two custom-designed displaycases for the fourteen sheets of therenoir sketchbook. The exhibitionwill be supported by a text paneland extended labels for all works,plus a fully illustrated cataloguecontaining a survey of moderndrawing and entries for each work.



• Fee: $15,000

Auguste renoirGabrielle and Jean, c. 1895

NGC, Ottawa. Gift of Martin Fabiani,

Paris, 1956 Photo © NGC

Odilon redonThe Raven, 1882NGC, OttawaPhoto © NGC


One of the “lady-etchers” whoemerged from the British Etchingrevival of the 1920s, Laura Knight(1877–1970) initially studiedpainting at the Nottingham Schoolof Art in her early teens. Duringthe First World War, she workedfor the Canadian War Memorials,as did many other artists from theu.K. She was a celebrated artist in Britain, one of the country’sforemost woman painters, whenshe was made Dame Commanderof the Order of the British Empirein 1929. In 1936, she achieved fullmembership in the royal Academyof Arts, the first woman to do sosince the academy’s founding in 1768.

In 1922, when Knight was inher mid-forties, she turned toprintmaking after a wrist fractureprevented her from holding apalette. Her chosen medium wasaquatint, a technique for which it was difficult to find the properequipment and training. Shefashioned a resin duster from adiscarded sugar box, polishedpitted steel sheets for her plates,and borrowed a rusty old pressfrom a friend. The subject matterof her prints is completely engagingand ranges from the circus to dancehalls and ballet, all rendered with

Theatre and the Circusin the Art of Laura Knight

a deeply compassionate vision. At the Footlights and On the High Wire

follow in a long tradition of artists’interest in popular culture. Knight’sportrayal of the world of perfor -mance is intimate and sympathetic.She was able to gain backstageaccess to catch actors, dancers, andsingers preparing their makeup andcostumes. Her portraits of models,spectators, and labourers stand outas accomplished and evocativeimages of the human condition.

This exhibition, curated byJohn Collins, Assistant Curator,Prints & Drawings, will consist ofapproximately sixty works drawnfrom the gift of Laura Knight prints and drawings made by Fred Bolling and his wife, Val Withington, through theAmerican Friends of Canada (nowthe Council for Canadian Americanrelations) in 1997 and 1998. Thisselection will be a comprehensiverepresentation of all of the artist’sintaglio prints, and will showmultiple impressions to demonstratedifferent states, inking and papers.Cancelled plates will convey thecomplexities of the aquatint print making technique. To roundout the presentation, a number ofKnight’s very beautiful drawingswill be included. A brochure isanticipated to accompany the exhi -bition survey ing the artist’s careerand outlining her very importantactivity in the graphic arts.

• Available for tour from January 2012


• Fee: $15,000

Laura Knight, At the Footlights, 1923, drypointand aquatint on laid paper. NGC, Ottawa.Gift of the American Friends of CanadaCommittee, Inc., 1999, through thegenerosity of G. Fredric Bolling and Valerie A. Withington, Detroit. © reproduced with permission of The Estateof Dame Laura Knight DBE rA 2011. All rights reserved. Photo © NGC

Laura Knight, On the Highwire, 1932-1933,etching and drypoint on laid paper. NGC,Ottawa. Gift of the American Friends ofCanada Committee, Inc., 1999, through thegenerosity of G. Fredric Bolling and Valerie A. Withington, Detroit. © reproduced with permission of The Estateof Dame Laura Knight DBE rA 2011. All rights reserved. Photo © NGC


Contemporary Drawingsfrom the National Gallery of Canada

Bringing together a selection ofworks made since 2000 by sometwenty Canadian and internationalartists and showcasing newacquisitions, this exhibitionhighlights a rich diversity ofcurrent approaches to a mediumand practice that have experienceda resurgence in recent years.

A number of drawings evidencethe artist’s process of research:Susan Turcot investigates the social,cultural, environmental, andeconomic context of Amazonianforests and communities in herseries Acre: An Amazonian Stage

(2006), and Alison Norlen’smonumental Edifice (2006) marksout a psychic geography of the pastand present Kitchener-Waterlooregion, while Brian Jungen’sVernacular (1998–2001) and LuanneMartineau’s Untitled (2007) offerinsight into their respective workingmethods of building up a drawingthrough the process of accu -mulation over time. unfoldingacross five panels infused withhumour and historical and popcultural references, Simon Hughes’snarrative Northern Landscape (2007)relates the dystopian goings-onwithin a fictionalized Canadiancommunity, and Peter Doig’sUntitled (Double Portrait) [2002]depicts Canadian icon Neil Young.Shary Boyle’s intimate watercolourdrawings (2005) depict hybridbeings and fairytale-likemetamorphoses, and DanielBarrow’s Every Time I See Your

Picture I Cry (2006) tells the tragictale of a loner garbage mansearching for meaning in his life.

William Kentridge’s videoinstallation, What Will Come

(2007), is an optional accom -pani ment to the exhibition. The first anamorphic animationof its kind, it features conti n -ually morphing imagery –inspired in part by accounts ofthe Abyssinian war of 1935–36 –projected onto a round table andrevolving around a reflectivesteel column that “corrects” thedrawings. This work manifestsKentridge’s interest in the workof Albrecht Dürer and hisinvestigations into themechanisms of seeing.

Contemporary Drawings,curated by Heather Anderson,Assistant Curator, andrhiannon Vogl, Acting AssistantCurator, Contemporary Art,delves into drawing as a means of exploring and producingknowledge of the world inwhich we live and will includeupcoming acquisitions as theNGC continues to enrich itsCanadian and internationalcollection of drawings. Thisexhibition is accompanied by acatalogue and extended labels.


• Space requirement: 350 square metres (3,767 square feet)

• The optional installationrequires a supplementaryspace of 3 x 3 metres (min.) to 6 x 6 metres (max.)

• Fee: $20,000

Daniel BarrowEvery Time I See Your Picture I Cry Series (nos. 1–3 of 7), 2006

NGC, OttawaPhoto © NGC


The “golden age” of Britishphotography – from the mid-1830sto 1900 – saw a flowering ofphotographic production thatcaptured an astonishing varietyof subjects and activities. Fromthe early photographic inventionsof William Henry Fox Talbot andJulia Margaret Cameron’s sensuousand romantic portraits to theglimpses of the harsh realities of urban life in the photographs of Thomas Annan and the lushpastoral scenes by Peter HenryEmerson, many photographsproduced during the second half of the nineteenth century in Britainare now regarded as masterpiecesin the history of the medium.

Queen Victoria and herhusband, Prince Albert, wereenthusiastic patrons of the new art of photography and collectedhundreds of photographs for theirpersonal collection. They also lent

their support to both London’sGreat Exhibition of 1851 and the Manchester Art TreasuresExhibition in 1857, two tradeexhibitions that includedphotography in their displays andintroduced British photography tonational and international viewers.

19th-Century British Photo graphs

from the National Gallery of Canada

is the third in a series of surveyexhibitions that examine iconicworks from the National Galleryof Canada’s PhotographsCollection and situates themwithin a historical and socialcontext. Curated by Lori Pauli,Associate Curator, Photographs,this exhibition features images by some of the medium’s earliestpractitioners, including WilliamHenry Fox Talbot, Hill andAdamson, O.G. rejlander, Anna Atkins, Julia MargaretCameron, Edward Muybridge,

19th-Century British Photographsfrom the National Gallery of Canada

This exhibition, the very firstdedicated to Amiot’s art, bringstogether seventy-five pieces chosenfor their incontestable intrinsicqualities, offering a nuancedportrait of his immense contribu -tion. Curated by rené Villeneuve,Associate Curator, Early CanadianArt, this exhibition, drawn from theGallery’s rich collection of pieces,highlights the support that the artistreceived from parish workshops, towhich the upper classes quicklybeat a path; exceptional piecesmade for commissions by thebishop and the governor confirmhow widely his genius was recog -nized. The combi nation of worksgives a glimpse into one of the mostdynamic episodes of the develop -ment of silvermithery in Canada andplaces it in a context that gives usa unique perspective on the societythat enabled this art to flourish.

upcoming ExhibitionThe Master Silversmith of His Era Laurent AmiotThe son of an innkeeper, Laurent Amiot was born in 1764in Quebec City, where heapparently apprenticed as asilversmith in the workshop ofhis older brother, Jean-Nicolas.Then he did some thingextraordinary, changing thecourse of his life and theevolution of art in Canada: hewent to Paris to continue hisprofessional training for fiveyears. He returned to QuebecCity in the spring of 1787 havingmastered the art of compositionwith impeccable technique. up to date on the latest styletrends in Europe, he started a fruitful practice that was toflourish for more than fivedecades, raising silversmitheryfrom a craft to an art.

and Frederick Evans. Approxi -mately eighty works producedbetween the 1830s and 1900 willbe on view, and a fully illustratedcatalogue with an introductoryessay and in-depth entriesaccompanies the exhibition.

• Available for tour from September 2011


• Fee: $15,000

Archibald BurnsWhite Horse Close, Edinburgh,

No. 1, February 1871? NGC, OttawaPhoto © NGC

Laurent AmiotCup Presented to George Taylor, 1827NGC, Ottawa. Purchased 2000 with the assistance of a grant from the Government of Canada under the terms of the Cultural PropertyExport and Import Act. Photo © NGC


LecturesThe National Gallery of Canadainvites you to reserve one of ourcuratorial lecture presentations toenhance your exhibition programming.The following NGC and CMCPcurators are available to offerinformative presentations to museumsand galleries across Canada.

For enquiries, or to reserve apresentation, please contact theNational Gallery of Canada’sTravelling Exhibitions Office.The fee for each lecture is $500.Please note that reservations aresubject to the presenter’s availability.

On-Site Security Review

Museum administrators who areundertaking a review of theirsecurity operations can benefit from an informed second opinion. An on-site visit from one of theNational Gallery of Canada’sProtection Services specialists can help you to:

• identify site-specific securitychallenges;

• assist in striking the appropriatebalance between the three inter -related security components(physical hardware, electronicmonitoring devices, andprofessional guard services);

• guide you on how to upgradeyour security levels and developcontingency plans.

For more information on thisoffer or to book an on-site securityreview, please contact the TravellingExhibitions Office.

Andrea Kunard, Associate Curator,CMCP

Global Nature: Photography’sRelationship with the Land,Ecology, and Nature

The land and nature have long beenfavourite subjects of photographers.In this lecture, Kunard will discussthe works of Sarah Anne Johnsonand Lorraine Gilbert in the context ofcontemporary photography and thevariety of approaches that Canadianphotographers have taken to thenatural world. Both Johnson andGilbert engage with issues of ecology;yet, they also choose to approachtheir subject matter in ways thatchallenge a straight documentaryapproach. The artists imbue theirworks with a mixture of fact andfiction, information and metaphor, as a way to communicate the culturalcomplexity of their subject matter.Some images echo canonical works ofart history, while others appear morecasual and vernacular. The worksalso recall tourist imagery and mass-media presentations of “return toparadise,” with all its attendantproblems, as seen in televisionprograms such as Survivor and Lost.These artists’ various projectsindicate the extent to which our ideasof the land and nature have beenconfigured through technologies suchas photography, television, video, andthe Internet, and demonstrate that inthe late twentieth and early twenty-first centuries, the border betweenreal and simulated experiences hasbecome increasingly blurred.

Clash: Conflict and Its Consequences

In this lecture, Kunard will expandupon the works of Canadian photo -graphers presented in the exhibitionClash: Conflict and Its Consequences.Discussion will focus on the relationshipbetween photography and trauma andthe need to safeguard memory at thepersonal, communal, and national levels.Kunard will also speak about the manydifferent ways that photographers and artists explore the subject of warand conflict. Some, for example, seethemselves as “witnesses” to history oratrocity; in these cases, the photographis understood to function as a documentthat confirms the actuality of events. In other cases, the photographer usesaesthetics as a tool; difficult subjectmatter is highly aestheticized in order topull the viewer into the work and elicit areaction. Still others understand conflictas a kind of theatre containing fictionalor subjective components; these artistseither construct the photograph or re-create the scene itself, to place fact andfiction in dialogue. And finally, othersuse photography to portray how theeffects of conflict reverberate throughgenerations, indirectly affecting the livesof descendants who never experiencedthe event. Kunard will also consider theimpact of social networking sites and theInternet on images of conflict and howmemory, testament, and history arebeing reconfigured as a result.

Ann Thomas, Curator, Photographs

19th-Century FrenchPhotography: The Art ofPicture-Making

Painters in France, as in othercountries, were stunned by the adventof a medium that challenged some oftheir fundamental convictions aboutwhat constituted art. They were alsofascinated by how it could be used tofurther their own needs. On the otherhand, many French photographers ofthe period had trained as painters andcame to lean heavily on what they hadlearned in art academies and studios inthe composition and presentation oftheir photographs. This talk exploresthe fascinating relationship betweenpainting and photography innineteenth-century France.

Yousuf Karsh and Edward Steichen: The Art of the Celebrity Portrait

Edward Steichen and Yousuf Karshcame out of a long tradition ofcapturing the likenesses of people as away of celebrating their power, wealth,or talent. In this talk, the curator willlook at the connections and visualtropes that link the two celebrityportraitists, discuss what makes themdistinctive, and place them in thecontext of the celebrity portrait in thehistory of photography going back to the late nineteenth century.

Greg A. Hill, Audain Curator of Indigenous Art

Carl Beam and the Poetics of Being

In this talk, the curator willilluminate Carl Beam’s investigationsinto the metaphysical aspects ofWestern and Indigenous cultures andillustrate the wide-ranging physicalityof his work, evident in everythingfrom his large-scale paintings to hisceramics, constructions, and videoworks. Focusing on the worksselected for the exhibition, thecurator will elaborate on the themesthat occupied Beam over the courseof his career stretching over almostforty years.

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Currently Available

19th-Century French Photographsfrom the National Gallery of Canada

• Podcast interview with JamesBorcoman, Guest Curator

• Educational website “Drawing With Light”

Carl Beam

• Extended artwork labels• Artist chronology• Podcast of discussion among Ann

Beam, the artist’s widow; Greg Hill,Audain Curator of Indigenous Artand curator of the exhibition; andPaul Eichhorn and robert Waldeck,directors of the film Aakideh: TheArt and Legacy of Carl Beam

Wanda Koop... On the Edge of Experience

• Podcast tours with Josée Drouin-Brisebois, Curator, ContemporaryArt. In French with English text.

• Video interview with Mary reid,Curator, Contemporary Art andPhotography, Winnipeg ArtGallery; produced by theWinnipeg Art Gallery

Uuturautiit: Cape Dorset Celebrates50 Years of Printmaking

• Podcast interview with artistKenojuak Ashevak

• Educational website “ulluriat”

Gabor Szilasi: The Eloquence of the Everyday

• Podcast interview with the artist• Podcast interview with the artist

recorded in 1980

Yousuf Karsh and

Edward Steichen:

The Art of the Celebrity Portrait

• Podcast lecture by Jerry Fielder,Curator and Director of the Estateof Yousuf Karsh

• Guide to the celebrities

Steeling the Gaze:

Portraits by Aboriginal Artists

• Podcast lecture by Steven Loft,Curator-in-residence, IndigenousArt, NGC

• Podcast lecture by Andrea Kunard,Associate Curator, CMCP

• Podcast tours with the artists:rosalie Favell, Arthur renwick, and Jeff Thomas

Upcoming…

Global Nature

• Family guide

19th-Century British Photographsfrom the National Gallery of Canada

• Podcast tour with Lori Pauli,Associate Curator, Photographs,NGC

• Educational website “Drawing With Light”

Educational Support

The National Gallery of Canadapublishes a wide range of exhibitioncatalogues and illustrated brochures,many of which complement our touringexhibitions. Below is a selection ofcurrent publications.

19th-CenturyBritishPhotographs from the NationalGallery of Canada

Lori Pauli, John McElhone

19th-CenturyBritish Photographs is the third instalmentin a series of catalogues that showcasethe depth and variety of photographsfrom the National Gallery of Canada’spermanent collection. This cataloguedocuments the developments inphotographic technologies in 19th-century Britain; from historicallyimportant paper negatives to platinumprints, works by Julia MargaretCameron, William Henry Fox Talbot,Frederick Evans, roger Fenton, andHenry Peach robinson, among others,are beautifully illustrated and examined.Paper | 176 pages | $49.00ISBN: 9780888848864

19th-CenturyFrenchPhotographs fromthe NationalGallery ofCanada

James Borcoman

19th-CenturyFrench Photographs is the second in aseries of exhibitions highlighting thestrengths of the National Gallery ofCanada’s permanent collection ofphotographs. The intention of theexhibition is also to provide anintroduction to the history of themedium’s early years; the beautifullyillustrated catalogue highlights worksby such photographers as CharlesMarville, Gustave Le Gray, EugèneAtget, Édouard Baldus, ÉtienneCarjat, Henri Le Secq, and Nadar. Paper | 168 pages | $49.00ISBN: 9780888848734

Gabor Szilasi:

The Eloquence of

the Everyday

David Harris

Over the last fifty years, Gabor Szilasi, a Montreal artist

born in Hungary, has created one of themost important photographic bodies ofwork in Canada, work that combinesportraits, domestic and commercialinteriors, cityscapes of Montreal andHungary, and images from manyregions of rural Quebec. This compre -hensive publication contains a study ofthe artist, a catalogue of the works in theexhibition, and an exhaustive bio graphythat explores the different private andprofessional facets of Szilasi’s life.

Co-published by the National Galleryof Canada, the Canadian Museum ofContemporary Photography andMusée d’art de Joliette.

Paper | 240 pages | $55.00ISBN: 9780888848666

Lord Dalhousie:

Patron and

Collector

René Villeneuve

George ramsay,Ninth Earl ofDalhousie, served

as Lieutenant-Governor of Nova Scotia(1816–20), then as Governor-in-Chiefof British North America (1820–28).During his 12 years in Canada,Dalhousie both commissioned andcollected a stunning variety of artworks.Featuring some 130 works from hiscollection, this exhibition catalogueunderscores the patron’s unique pointof view and his influence on thedevelopment of art in Canada.Dalhousie’s original eye and diverseinterests are highlighted by the array of watercolours and wash drawings,engravings and lithographs, silhouettes,architectural drawings, models, anddecorative pieces.

Paperback | 200 pages | $49.95ISBN: 9780888848451

Utopia/Dystopia: Geoffrey James

Lori Pauli

One of Canada’smost eloquentinterpreters of landscape,

Geoffrey James has been makingphotographs since the early 1970s. Hisfirst photographs – images of gardens– express classical notions of beauty as they reveal the geometry andunderlying structures of the formalgarden. These small panoramic scenesevoke a quiet passion for the greatlandscape schemes and naturalsanctuaries of the past. In his mostrecent work, James pays particularattention to the ways in which natureand culture intersect. While notconcerned with “romantic” notions of “the ruin,” his photographs do suggest a fall from grace.

Co-published by the National Galleryof Canada and Douglas & McIntyreCanada.

Hardcover | 176 pages | $60.00ISBN: 9781553653479

Angela

Grauerholz: The

Inexhaustible

Image

MarthaHannah withMarnieFleming andOlivier Asselin

The work of Angela Grauerholzoccupies an important place inCanadian and internationalphotography. From the 1980s on, her search to redefine the art ofphotography has taken various forms,including portraits and interior andexterior scenes with or withoutpeople. This retrospective publicationcovers twenty years of productionand highlights Grauerholz’s majorphotographic and installation works.Three critical essays discuss the workin relation to time, memory, andrepresentation.

Hardcover | 240 pages | $50.00ISBN: 9780888848758

Uuturautiit: CapeDorset Celebrates50 Years ofPrintmaking

ChristineLalonde

The fiftiethanniversary ofprintmaking in

Cape Dorset is a welcome oppor -tunity to focus on the beginning of printmaking and the continueddynamism of Inuit graphic artists in this internationally renowned artistic community. This beautifullyillustrated catalogue presents worksby elder artists such as KananginakPootoogook and Kenojuak Ashevak,as well as emerging artists such as Shuvinai Ashoona, KavavaowMannomee, and Jutai Toonoo.

Paper | 80 pages | $22.95ISBN: 9780888848727

Carl Beam: ThePoetics of Being

Greg Hill, Gerald McMaster,Virginia Eichhorn,Alan Corbiere,Crystal Migwansand Ann Beam

Carl Beam was a powerful voice in contemporary art inCanada. A key Anishnaabe artist, hedrew upon all the cultural resources atthe disposal of a contemporary artist.This catalogue, exhibition, and tour offifty magnificent and challenging worksby Beam offer the first such opportunityto view a selection of paintings, con -s truc tions, ceramics, and videoworksthat cover his entire artistic career.Paper | 140 pages | $50.00ISBN: 9780888848765

To see the full listing of NGC publi cations, please go to our website at www.gallery.ca and click on the“Shop NGC” link. To order any ofthese publications, please contact the National Gallery of CanadaBookstore at [email protected], call 613-990-0962, or fax to 613-990-1972.

Publications


At the beginning of April, theNational Gallery of Canada willrelaunch Gallery.ca, unveiling aworld-class website that will vastlyimprove the user interface. Nolonger will visitors to Gallery.ca be expected to navigate separatewebsites for the National Gallery ofCanada, CyberMuse, the CanadianMuseum of Contem poraryPhotography, the NGCFoundation, and Shop NGC.Everything on our website will nowlive in one repurposed, redesignedspace that will make the onlineNational Gallery of Canadaexperience easier, more informative,and more fun. How big a revamp isthis? In a word, big. We have notsimply slapped a coat of paint overwhat was there and called it new.Our team has rebuilt the websitefrom top to bottom and back tofront. The end result is a muchbetter user interface through whichchildren, youths, teachers, the

Gallery.ca: A New Look, Feel, and Experience

general public, and researchers canfind out about upcomingexhibitions, films, and events orconduct research with just a fewclicks of the mouse.

Architecture for the future

In the past, the Gallery’s contentwas divided up into informationsilos. When the CyberMusesearch engine was used, it did notsearch across all of the Gallery’swebsites and portals, and ourusers were sometimes frustrated.Now that the Gallery’s more than30,000 pages of content in bothofficial languages will be livingunder the same roof, a singlesearch will troll all of ourmaterials with just one click.

Because the website’s archi -tecture has been rebuilt at thesame time, all of the Gallery’sarticles and other educationalmaterials will now be easy to findby following the tabs and section

signposts laid out by our designteam. This means a greatlyimproved user interface and abetter digital experience forGallery.ca users.

Working with what is new

Not only has the Galleryrepurposed all of its content, butit will be adding new articles andinformation all the time. To keepthings current, the Gallery willhave a blog where staff fromacross the Gallery will be able totell visitors to the website what theGallery is up to. It will also be aplace where the general public will be able to comment and keepabreast of upcoming exhibitions,films, and events.

It has always been true thatthe National Gallery of Canada isnot just a building in Ottawa butan institution for all Canadiansthat boasts the largest program oftravelling art exhibitions in the

world. That’s why the On Toursection was reshaped to makeit easier for people from across the country to find out which exhi bitions will be visitingmuseums near them. Curatorsand directors from across Canadawill also find it much simpler toaccess the On Tour informationand the back ground materialsthat go with it.

The main site will beaugmented by the simultaneouslaunch of the Gallery’s mobile site,which will make it easier for thegeneral public to search and findwhat they need to know about theGallery’s collection and exhibits on their smartphone or tabletcompu ter. Combined with the newblog and improved presence onsocial media websites such asTwitter and Facebook, the Gallerywill be able to reach moreCanadians, with better service,than ever before.

Angela GrauerholzThe inexhaustible image... épuiser l’image (CMCP)

35–40 photographic works, 1 photographic installation

No. 15, 2007p. 8

September 2011 –January 2013

150 linear metres(492 linear feet)

$5,000 2 �

Clash: Conflict and Its Consequences(CMCP)

50 photographs and 2 videosNo. 18, 2011p. 8

June 2012 – May 2014


$8,000 2

Fred Herzog, Street Photography (CMCP)

28 photographsNo. 18, 2011p. 10

September 2011 –August 2013


$8,000 2

Gabor SzilasiThe Eloquence of the Everyday (CMCP)

124 photographsNo. 16, 2008p. 11

May 2009 – September 2011


$6,000 2 � �

Global Nature (CMCP)

20 photographic works including 2 installation projects

No. 16, 2008p. 6

June 2010 – May 2012


$3,000 2 �

Richard Hamilton Reflects: Prints 1963–74(NGC)

16 prints on paper and 2 on glass,period catalogue, archival postersand brochures

No. 16, 2008p. 5

May 2009 – September 2011


$2,000 2 �

Steeling the Gaze: Portraits by Aboriginal Artists(CMCP)

46 photographic and 5 videoworks by 12 celebratedAboriginal artists

No. 17, 2009p. 7

September 2010 –November 2012


$10,000 2 � �

Yousuf Karsh and Edward Steichen: The Art of the Celebrity Portrait (NGC)

35 prints from the National Gallery of CanadaPhotography Collection

No. 17, 2009p. 11

June 2010 – July 2012


$5,000 2 � �

Zidane, A 21st-Century Portrait (NGC)

Audiovisual installation with soundtrack

No. 17, 2009p. 10

January 2011 – April 2013

260 square metres(2,800 square feet)

$5,000 2

Carl Beam (NGC)

49 works: paintings, photo-basedcollage works, constructions,ceramics, videos

No. 16, 2008p. 7

February 2011 – March 2013


$15,000 3 � �

Contemporary Drawings from theNational Gallery of Canada (NGC)

A selection of works made since 2000 by some 20 contemporary artists

No. 18, 2011p. 13


350 square metres(3,767 square feet)

$20,000 3 �

Don’t Stop Me Now! (NGC)

Approx. 25 works: drawings,prints, paintings (two large-scale),sculptures, and video installations

No. 18, 2011p. 9

January 2012 –December 2013

278–465 square metres (3,000–5,000 square feet)

$15,000 3 �

Goya: The Disasters of War

and Los Caprichos

(NGC)

80 etchings from The Disasters of

War and the bound publication Los Caprichos

No. 17, 2009p. 4

January 2010 –February 2012


$6,000 3 �

19th-Century British Photographs from the National Gallery of Canada(NGC)

67 photographs from the 1830s to 1900, the “golden age” of British photography

No. 18, 2011p. 14



$15,000 3 � �

Exhibition Contents

On TOUR

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On TOur Technical Summary



Exhibition Contents

On TOUR

IssueNo.** On TOUR Dates Space Required Fee S

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* SECURITY LEVELS

LEVEL 1: TV monitor surveillance by front desk staff during public hours; electronic security during off hours.LEVEL 2: One patrolling full-time paid attendant or professional security guard every 200 square metres; electronic security during off hours.LEVEL 3: Each work in direct sightline of a full-time paid attendant or professional security guard during public hours; electronic security at night, patrols to be decided on a case-by-case basis.LEVEL 4: Each work in direct sightline of a professional security guard during public hours; professional security presence on site during off hours.

Please note that Security Levels provide general guidelines only. On-site conditions may require additional security elements.

** For previous issues of On TOur, please go to www.gallery.ca, select “Exhibitions,” then click on “Touring Exhibitions.”

19th-Century French Photographsfrom the National Gallery of Canada(NGC)

66 vintage photographic printsNo. 15, 2007p. 4

June 2010 – February 2012


$8,000 3 � �

Made in America 1900–1950Photographs from the National Gallery of Canada(NGC)

Approximately 80 photographic works

No. 18, 2011p. 7

June 2012 – May 2014


$20,000 3 �

Piranesi’s Prisons: Architecture of Mystery and Imagination(NGC)

21 large etchings by the Venice-born artist

No. 17, 2009p. 6

June 2010 – May 2012


$8,000 3 �

Theatre and the Circus in the Art of Laura Knight (NGC)

Approximately 60 prints and drawings

No. 18, 2011p. 12

January 2012 – December 2013


$15,000 3

The Symbolist Muse: A Selection of Printsfrom the National Gallery of Canada(NGC)

52 prints by European artistsfrom the turn of the 20th century

No. 17, 2009p. 6

April 2010 – May 2012


$8,000 3 �

Uuturautiit: Cape Dorset Celebrates 50 Years of Printmaking(NGC)

40 stonecuts, lithographs andstencils from the 1959 edition of prints and 40 contemporaryprints and drawings from the West Baffin Eskimo Cooperative(Kinngait Studios), Nunavut

No. 17, 2009p. 8

June 2010 – May 2012


$10,000 3 � �

Artists, Architects, Artisans:Canadian Art 1890–1918(NGC)

More than 150 works: paintings, sculptures, architecturaldrawings, watercolours, prints,illustrated books, photographs,decorative artworks

No. 16, 2008p. 8

January 2014 – December 2015

377 linear metres(1,237 linear feet)

$25,000 4 �

Drawing Modernity from Renoir to Picasso (NGC)

50 works including 14 sheets of the renoir sketchbook

No. 18, 2011p. 11



$15,000 4 �

The Master Silversmith of His EraLaurent Amiot (NGC)

75 pieces of silversmitheryNo. 18, 2011p. 14

January 2015 –December 2016


– 4 �


facility for environmental condi -tions and security provisions.Specific exhibition security,environmental, or technicalrequirements may be brought to your attention at that time.

• Confirmation of your exhibitionbooking and receipt of yourExhibition Contract is contingentupon tour considerations and thereceipt, review, and approval of your facility report, galleryenvironmental and lightingconditions, hygrothermal charts,and security and technicalprovisions.

• upon receipt and signing of theExhibition Contract, your institutionagrees to host the exhibition accor d -ing to the conditions agreed uponand as outlined in that contract.

How to Reserve an ExhibitionIf you are interested in hosting an On Tour exhibition, please contact the NGC Travelling ExhibitionsOffice with your request andpreferred booking dates. As someexhibition tours fill up quickly, please indicate your interest at your earliest convenience.

• upon receipt of your request, wewill send you an Exhibition FactSheet containing details on theexhibition’s specific environmental,lighting, security, and technicalrequirements, plus the minimumrunning wall space or floor areadimensions needed for installation.

• You will be asked to provide anup-to-date Standard Facility Reportand hygrothermal charts so thatwe may conduct a review of your

Contracts and FeesA flat fee for each exhibition has beenestablished at a subsidized rate forCanadian institutions. Borrowinginstitutions are charged a portion of the direct costs incurred in circulating the exhibition. These costs includeshipping, insurance, artists’ fees, andcrating, plus travel costs for a NationalGallery technician when necessary.The fee, plus applicable taxes, is payableat the time of the exhibition opening.

Although the exhibition feepayment is not requested at the time of contract signing, your ExhibitionContract is considered to be a bindinglegal document by the National Galleryof Canada. The borrowing institutionmay cancel the exhibition booking any time up to six months before theagreed-upon opening date without any

Borrowing institutions are expectedto exercise the greatest possible careto protect the works of art duringhandling, installation, and takedown,and to ensure that their facility meetsall security and environmentalconditions of care, as outlined belowand in the Exhibition Contract.

SecurityExhibition security requirements andborrowing institution standards areassessed and verified by the NationalGallery of Canada against the venue’sStandard Facility Report as part of aStandard Facility Report review. Secureand environmentally controlled spacesthat are designated exclusively for the storage and display of art worksmust be provided for all travellingexhibitions.

Depending upon the securitylevel requirement of the exhibition,electronic surveillance (Level 1) withpatrolling attendant (Level 2) orstationary attendant or guard (Level 3),or professional guard presenceduring both public hours and offhours (Level 4) must be provided. A fully operational fire-preventionsystem and climate-controlled secure storage are also required.Contingency plans and backupsystems in case of environmental andsecurity failures are recommended.

Security measures that are basedupon established mechanical, electronic,and human monitoring standards must be in place and upgraded, asnecessary, for exceptionally valuable or vulnerable exhibitions. Specificsecurity requirements for individualexhibitions are outlined in theExhibition Fact Sheet.

Climate Controlreliable systems for the regulation of lighting, relative humidity, andtemperature must be in place. In most instances,

• light levels must be maintainedbetween 50 and 200 lux, dependingupon the sensitivity of the media or materials exhibited;

• relative humidity must be setbetween 43 and 50 percent, withdaily fluctuations not to exceed plusor minus 10 per cent, dependingupon the sensitivity of the media or materials exhibited;

• temperature must be set at a stablepoint between 18 and 22°C, withfluctuations not to exceed +/– 2°Cin a 24-hour period.

Specific climate control requi re -ments for individual exhibitions are described in the Exhibition FactSheet. Climate control standards arealso assessed and verified by theNational Gallery of Canada againstthe borrowing institution’s StandardFacility Report.

StorageThe borrowing institution mustprovide secure and environmentallycontrolled storage for all cratescontaining works of art and forempty crates. upon receipt of crated works of art, the borrowinginstitution must store the cratesunopened for a minimum of 24 hoursto allow the works to becomeacclimatized to the new facilityenvironment. The borrowinginstitution will be provided with aCrate List outlining the number andsize of crates for each exhibition.

Cumulative Condition ReportsFor most travelling exhibitions, the National Gallery provides aCumulative Condition Report binder, in which the condition of each work is noted at the time it leaves theNational Gallery, at the time it arrives, and upon takedown at everyborrowing institution.

The borrowing institution mustprovide a qualified staff member(conservator, registrar, or collectionsmanager) to complete the incomingand outgoing condition reports. If theborrowing institution does not have a staff member qualified to completethem, then it is the responsibility of the borrowing institution to hirequalified contract staff to do so.

Incoming condition reports mustbe completed within 24 hours afteruncrating. Outgoing condition reportsmust be prepared immediately priorto the works being re-crated fortransport. While in the custody of the borrowing institution, anychange to the condition of a work of art must be reported immediatelyto the National Gallery of Canada.

Art HandlingIn most instances, a National Gallery installation officer will oversee the handling of theexhibition. This includes uncrating,installation, takedown, and re-crating. The National Galleryrequests that exhibitions be handled by professional staff at theborrowing institution. The agreed-upon security and environmentalconditions will be verified by theNational Gallery installation officer prior to installation.

Chief, Exhibitions ManagementChristine SadlerTelephone: 613-990-7549E-mail: [email protected]

Manager, Travelling ExhibitionsKristin rothschildTelephone: 613-993-9997E-mail: [email protected]

National Gallery of Canada380 Sussex DriveBox 427, Station AOttawa, Ontario K1N 9N4

On TOur is published by theExhibitions Management Division

InsuranceThroughout the tour, whether intransit, in storage, or on display, all works of art in travellingexhibitions are insured under the National Gallery’s Fine ArtsPolicy. The insurance premium isincorporated into the exhibition fee on a pro rata basis.

The Canada Travelling ExhibitionsIndemnification ProgramThe insurance fees for certaintravelling exhibitions may be covered under the Canada TravellingExhibitions Indemnification Program.For these exhibitions, the NationalGallery of Canada will submit theapplication in co-operation with theborrowing institution.

In the event that indemnity isdenied to a borrowing institution, the borrowing institution will beresponsible for payment of all coststo insure works under the NationalGallery of Canada’s Fine Arts Policy.Borrowing institutions are advised to ensure that sufficient funds areavailable in the event of an indemnityapplication being refused.

TransportationIn consultation with the borrowinginstitution, the National Gallery of Canada makes all shipping,security, and courier arrangementsthroughout the tour. Exhibitionsare shipped by National Gallerytruck, by contracted professionalfine-arts trucking companies, or by commercial transport.Transportation costs areincorporated into the exhibition fee on a pro rata basis.

and the Publications Division of theNational Gallery of Canada. Writtenmaterial may be freely reproduced, withappropriate credit to On TOur and theNational Gallery of Canada.

Aussi publié en français sous le titreEn TOurNÉE.

Design: Llama Communications

Illustrations supplied by the NationalGallery of Canada and the CanadianMuseum of ContemporaryPhotography, Ottawa.

PrINTED IN CANADA

The National Gallery provides a broadrange of exhibition and educationalprogramming, web-based products,and other support materials andservices for travelling exhibitions.Electronic artwork files for intro -ductory text, theme panels, and labels are provided for all travellingexhibitions. Borrowing institutions are responsible for producing allexhibition texts from the artworkfiles provided.

High- and low-resolution imagefiles for publicity photographs are provided for most travellingexhibitions. The National Gallerycredit line and logo with specifiedplacement and size must be includedin all promotional materials producedby the borrowing institution. Thegraphic guide lines for NGC creditlines and logos are included as an annex to the exhibition contract.

Exhibition catalogues or inter -pretive brochures are available for

most travelling exhibitions. Forreference purposes, a small number of these are provided at no charge for use by staff of the borrowinginstitution. A limited number ofadditional brochures may also beavailable at minimal cost. Cataloguesfor resale by the borrowing institutionare available from the NationalGallery’s Bookstore. For moreinformation, please contact theTravelling Exhibitions office.

Borrowing institutions mustconsult the National Gallery beforeaccepting local sponsorship fortravelling exhibitions.

Current listings of touringexhibitions are located on the NGC website at gallery.ca and atcmcp.gallery.ca. Also look for What’sNear Me, an interactive directory of current and upcoming NGC and CMCP touring exhibitions onCyberMuse, the Gallery’s onlinewebsite at cybermuse.gallery.ca.

Exhibitions Management DivisionTravelling Exhibitions Program

Programming and Graphic Support

Care of the Works of Art

penalty. If booking cancellation noticeis received less than six months beforethe opening date, the National Gallerymay still request partial or full paymentof the exhibition fee.

If the conditions set out in theExhibition Contract are not met, theGallery reserves the right to withdrawthe exhibition booking at any time.

In keeping with the mandate of theNational Gallery, On Tour exhibitionsare offered first to Canadian institutionsat the aforementioned preferred rate.

Fees for non-Canadian venues are available upon request. Out-of-country institutions are required topay additional incoming and outgoingtransit costs, customs and brokeragefees, and insurance fees to insureworks under the National Gallery’sFine Arts Policy.

On TOur Program

National Gallery of Canada Number 18, June 2011 … · National Gallery of Canada Number 18, ......

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Transcript of National Gallery of Canada Number 18, June 2011 … · National Gallery of Canada Number 18, ......