EXHIBITIONS –

Discord and Harmony in the Art of the Baroque Era. Bader Gallery.

New Canadiana: The Chancellor Richardson Memorial Fund and Art as Social History.

Collecting Visions.

PROGRAMS & EVENTS –

Third Thursday Tours. Join us for highlights of exhibitions. Admission is free for all on Thursdays.

Art Matters. Alicia Boutilier, Curator of Canadian Historical Art, tours the exhibition With Rasp and File: Inuit Sculpture and Stonecut Prints.

Culture Days.
Fri 24 Sep, 10am-4:30pm: A highlights tour of all exhibitions. Tours are free, and admission is free during Culture Days.
Sat 25 Sep, 1-5pm: The Big Draw – Kingston artist Dave Gordon leads an informal drawing workshop for all ages and skill levels. Drop in, try a range of materials and get some tips. Workshop and admission free.
Sun 26 Sep, 1-5pm: The Print Sprint – Kingston printmaker Rebecca Cowan will demonstrate how to create a drypoint print on our traditional etching press. Demonstrations are available on a drop-in basis.

Rita Friendly Kaufman Lecture – featuring Dr. Ruth Phillips followed by New Canadiana reception and publication launch. Join us for a reception, following what promises to be a fascinating lecture, celebrating this innovative exhibition and the accompanying catalogue.

Art Classes & Workshops for Adults at the Art Centre.
Classes and workshops are open to Queen's students and adults from the community, and include access to our exhibitions.
To register by phone: call 613 533 2190 and pay with VISA or Mastercard.
To register in person: visit our Reception Desk during regular hours and pay with credit card, cash or debit card. Space is limited; registration is confirmed with payment.

Art Rental and Sales Gallery – Thur 1-4:30, Sun 1-5 or by appointment. Tel: 613 533 2184 email: artgall@post.queens.ca.

Gallery Shop – Tues-Fri 12-4:30, Thur 12-9, Sat & Sun 1-5. Tel: 613 533 6913 email: artgall@post.queensu.ca.

Underground parking located at University Avenue and Stuart Street. Free aboveground parking available on Queen's campus on weekends and after 5pm weekdays.

Exhibitions & Events –

Terrance Houle: GIVN'R.
Give'r: (Verb) Canadian, particular to rural areas, especially in the Western provinces, meaning 1.) to work very hard. 2.) to get wasted and rock as hard as possible. 3.) to finish a job or task in an efficient and quick manner.
AGYU is givn'r this fall with a rockin' survey of the past five years of work in film, video, performance, and photography by Calgary artist Terrance Houle.
Exhibition and tour organized by Plug In Institute of Contemporary Art, Winnipeg.

Looking for a free ride?
Get OUT THERE on the Performance Bus with Darren O'Donnell departing from OCAD (100 McCaul Street, Toronto) at 6pm sharp en route to the opening reception of the GIVN'R exhibition, returning downtown at 9pm.

AGYU Vitrines – Take the pilgrimage to AGYU this fall as to see the bad girl of ceramics – Julie Moon's newly commissioned work transforms the niches into devotional altars to contemporary craft.

Studio Blog – Chance meetings and strange encounters inspire Colombian artist Daniel Santiago for his ongoing Studio Blog exchange – www.yorku.ca/agyu/studioblog/.
AGYU's summer curatorial intern Fiona Wright will be doing an exchange with Montréal-based musician, producer, composer, magician, filmmaker, and visual artist Josh Dolgin (aka Socalled) about his photography, drawings and films.

Artists' Book of the Moment – See all the submissions and the one book that has risen to the top of the ABoTM – the winner of this year's Book of the Moment! http://theagyuisoutthere.org/abotm/.

Audio Out – Sep 6-Oct 24: Atanas Bozdarov goes classical. Whether it's deconstructing passages of Nietzsche's text into a musical scale or finding rhythm in Bobby Fischer and Donald Byrne's [chess] “Game of the Century,” The Rebirth of Tragedy features four works developed using various procedures to extract and assign musical notes from non-musical sources. All of the compositions were translated and played by Stephen Kreuger on double bass.

Publications –
New Series – Pieces.
Conversation Pieces – Brendan Fernandes in conversation with Kenneth Montague.
Pieces of Paper – Astrid Bastin on Miler Lagos.

New:
no. it is opposition. (essays by Emelie Chhangur and Carla Zaccagnini).

Daniel Borins and Jennifer Marman: Project for a New American Century (essay by Philip Monk).

and while I have been lying here perfectly still: The Saskia Olde Wolbers Files (by Philip Monk).

Projecting Questions? Mike Hoolboom's Invisible Man: between the art gallery and the movie theatre (includes contributions from Mike Hoolboom, Philip Monk, Chris Kennedy, Yann Beauvais, and an online component from Steve Reinke).

Recent:
Carla Zaccagnini, Catalogue Traduit (consisting of ten French essays on themes bifurcating from and illustrated by, works by the artist).

Matthew Brannon: To Say the Very Least (essay by Philip Monk).

Traffic: Conceptual Art in Canada 1965-1980.
Justina M. Barnicke Gallery, Hart House; University of Toronto Art Centre, University College; Blackwood Gallery, University of Toronto Mississauga; and Doris McCarthy Gallery, University of Toronto Scarborough.
Curated by Grant Arnold, Catherine Crowston, Barbara Fischer, Michèle Thériault with Vincent Bonin, and Jayne Wark.

Traffic is the first major account of the development of Conceptual Art in Canada from the mid-1960s to the early 1980s. By far one of the most important and long-lasting art movements of the 20th century, Conceptual Art originated within the social and political turmoil of the 1960s – from feminism and gay liberation to anti-racism and anti-war movements – and presented a profound challenge to the institution of art. This exhibition focuses on specific manifestations of Conceptual Art practices in urban centres across Canada, with particular attention to the inter-regional and international traffic that facilitated fertile cross-pollinations and exchanges amongst artists in this country.

Vito Acconci, David Askevold, John Baldessari, Bruce Barber, Marcella Bienvenue, Robert Bowers, Wallace Brannen, Tom Burrows, James Lee Byars, Eric Cameron, Colin Campbell, Ian Carr-Harris, Tim Clark, Robin Collyer, Carole Condé and Karl Beveridge, Michael de Courcy, Sylvain Cousineau and Francis Coutelier, Gary Coward, Kenneth Coutts-Smith, Stephen Cruise, Greg Curnoe, Max Dean, Tom Dean, Jean-Marie Delavalle, Jan Dibbets, Christos Dikeakos, Graham Dube, Brian Dyson, Dean Ellis, Michael Fernandes, Gerald Ferguson, Robert Fones, Vera Frenkel, Jeff Funnell, Charles Gagnon, Yves Gaucher, General Idea (AA Bronson, Felix Partz, Jorge Zontal), Raymond Gervais, Dan Graham, Rodney Graham, John Greer, Hans Haacke, Noel Harding, John Heward (in collaboration with Alex Neuman), Douglas Huebler, Image Bank (Michael Morris and Vincent Trasov), Richards Jarden, Bill Jones, Donald Judd, Pat Kelly, Garry Neill Kennedy, Roy Kiyooka, Robert Kleyn, Joseph Kosuth, Michèle Lalonde, Suzy Lake, Gordon Lebredt, Les Levine, Glenn Lewis, Sol LeWitt, Lee Lozano, Ken Lum, Duane Lunden, Don Mabie, Allan MacKay and Lionel Simmons, Arnaud Maggs, Brian MacNevin, Barry MacPherson, John McEwen, Robin McKenzie, Albert McNamara, Ian Murray, N.E. Thing Co., Gunter Nolte, Dennis Oppenheim, Bruce Parsons, Andy Patton, Harold Pearse, Rober Racine, Yvonne Rainer, Clive Robertson, Ellison Robertson, Martha Rosler, Tom Sherman, Rebecca Singleton, Robert Smithson, Michael Snow, Jeffrey Spalding, Lisa Steele, Françoise Sullivan, David Tomas, Serge Tousignant, Bill Vazan, Bill Vazan with Ian Wallace, Robert Walker, Jeff Wall, Ian Wallace, Theodore Wan, Douglas Waterman, John Watt, Lawrence Weiner, Irene F. Whittome, Joyce Wieland, Martha Wilson, Paul Woodrow, Jon Young, Tim Zuck.

Organized by the Art Gallery of Alberta, Justina M. Barnicke Gallery (Hart House, University of Toronto) and the Vancouver Art Gallery, in partnership with the Leonard & Bina Ellen Art Gallery (Concordia University), and Halifax INK.

Financially supported by the Museums Assistance Program of the Department of Canadian Heritage, and the Canada Council for the Arts.

ARTbus. Tour departs 11:30am from OCAD (100 McCaul Street, Toronto) for Art Gallery of Mississauga, Blackwood Gallery and Oakville Galleries. Snacks and refreshments will be provided. Cost: $10. To reserve a seat, call Oakville Galleries at 905 844 4402, x30 or email artbus@oakvillegalleries.com by Fri 17 Sep.

International conference.

Traffic: Conceptual Art in Canada 1965-1980.
Justina M. Barnicke Gallery, Hart House; University of Toronto Art Centre, University College; Blackwood Gallery, University of Toronto Mississauga; and Doris McCarthy Gallery, University of Toronto Scarborough.
Curated by Grant Arnold, Catherine Crowston, Barbara Fischer, Michèle Thériault with Vincent Bonin, and Jayne Wark.

Traffic is the first major account of the development of Conceptual Art in Canada from the mid-1960s to the early 1980s. By far one of the most important and long-lasting art movements of the 20th century, Conceptual Art originated within the social and political turmoil of the 1960s – from feminism and gay liberation to anti-racism and anti-war movements – and presented a profound challenge to the institution of art. This exhibition focuses on specific manifestations of Conceptual Art practices in urban centres across Canada, with particular attention to the inter-regional and international traffic that facilitated fertile cross-pollinations and exchanges amongst artists in this country.

Vito Acconci, David Askevold, John Baldessari, Bruce Barber, Marcella Bienvenue, Robert Bowers, Wallace Brannen, Tom Burrows, James Lee Byars, Eric Cameron, Colin Campbell, Ian Carr-Harris, Tim Clark, Robin Collyer, Carole Condé and Karl Beveridge, Michael de Courcy, Sylvain Cousineau and Francis Coutelier, Gary Coward, Kenneth Coutts-Smith, Stephen Cruise, Greg Curnoe, Max Dean, Tom Dean, Jean-Marie Delavalle, Jan Dibbets, Christos Dikeakos, Graham Dube, Brian Dyson, Dean Ellis, Michael Fernandes, Gerald Ferguson, Robert Fones, Vera Frenkel, Jeff Funnell, Charles Gagnon, Yves Gaucher, General Idea (AA Bronson, Felix Partz, Jorge Zontal), Raymond Gervais, Dan Graham, Rodney Graham, John Greer, Hans Haacke, Noel Harding, John Heward (in collaboration with Alex Neuman), Douglas Huebler, Image Bank (Michael Morris and Vincent Trasov), Richards Jarden, Bill Jones, Donald Judd, Pat Kelly, Garry Neill Kennedy, Roy Kiyooka, Robert Kleyn, Joseph Kosuth, Michèle Lalonde, Suzy Lake, Gordon Lebredt, Les Levine, Glenn Lewis, Sol LeWitt, Lee Lozano, Ken Lum, Duane Lunden, Don Mabie, Allan MacKay and Lionel Simmons, Arnaud Maggs, Brian MacNevin, Barry MacPherson, John McEwen, Robin McKenzie, Albert McNamara, Ian Murray, N.E. Thing Co., Gunter Nolte, Dennis Oppenheim, Bruce Parsons, Andy Patton, Harold Pearse, Rober Racine, Yvonne Rainer, Clive Robertson, Ellison Robertson, Martha Rosler, Tom Sherman, Rebecca Singleton, Robert Smithson, Michael Snow, Jeffrey Spalding, Lisa Steele, Françoise Sullivan, David Tomas, Serge Tousignant, Bill Vazan, Bill Vazan with Ian Wallace, Robert Walker, Jeff Wall, Ian Wallace, Theodore Wan, Douglas Waterman, John Watt, Lawrence Weiner, Irene F. Whittome, Joyce Wieland, Martha Wilson, Paul Woodrow, Jon Young, Tim Zuck.

Organized by the Art Gallery of Alberta, Justina M. Barnicke Gallery (Hart House, University of Toronto) and the Vancouver Art Gallery, in partnership with the Leonard & Bina Ellen Art Gallery (Concordia University), and Halifax INK.

Financially supported by the Museums Assistance Program of the Department of Canadian Heritage, and the Canada Council for the Arts.

International conference.

Traffic: Conceptual Art in Canada 1965-1980.
Justina M. Barnicke Gallery, Hart House; University of Toronto Art Centre, University College; Blackwood Gallery, University of Toronto Mississauga; and Doris McCarthy Gallery, University of Toronto Scarborough.
Curated by Grant Arnold, Catherine Crowston, Barbara Fischer, Michèle Thériault with Vincent Bonin, and Jayne Wark.

Traffic is the first major account of the development of Conceptual Art in Canada from the mid-1960s to the early 1980s. By far one of the most important and long-lasting art movements of the 20th century, Conceptual Art originated within the social and political turmoil of the 1960s – from feminism and gay liberation to anti-racism and anti-war movements – and presented a profound challenge to the institution of art. This exhibition focuses on specific manifestations of Conceptual Art practices in urban centres across Canada, with particular attention to the inter-regional and international traffic that facilitated fertile cross-pollinations and exchanges amongst artists in this country.

Vito Acconci, David Askevold, John Baldessari, Bruce Barber, Marcella Bienvenue, Robert Bowers, Wallace Brannen, Tom Burrows, James Lee Byars, Eric Cameron, Colin Campbell, Ian Carr-Harris, Tim Clark, Robin Collyer, Carole Condé and Karl Beveridge, Michael de Courcy, Sylvain Cousineau and Francis Coutelier, Gary Coward, Kenneth Coutts-Smith, Stephen Cruise, Greg Curnoe, Max Dean, Tom Dean, Jean-Marie Delavalle, Jan Dibbets, Christos Dikeakos, Graham Dube, Brian Dyson, Dean Ellis, Michael Fernandes, Gerald Ferguson, Robert Fones, Vera Frenkel, Jeff Funnell, Charles Gagnon, Yves Gaucher, General Idea (AA Bronson, Felix Partz, Jorge Zontal), Raymond Gervais, Dan Graham, Rodney Graham, John Greer, Hans Haacke, Noel Harding, John Heward (in collaboration with Alex Neuman), Douglas Huebler, Image Bank (Michael Morris and Vincent Trasov), Richards Jarden, Bill Jones, Donald Judd, Pat Kelly, Garry Neill Kennedy, Roy Kiyooka, Robert Kleyn, Joseph Kosuth, Michèle Lalonde, Suzy Lake, Gordon Lebredt, Les Levine, Glenn Lewis, Sol LeWitt, Lee Lozano, Ken Lum, Duane Lunden, Don Mabie, Allan MacKay and Lionel Simmons, Arnaud Maggs, Brian MacNevin, Barry MacPherson, John McEwen, Robin McKenzie, Albert McNamara, Ian Murray, N.E. Thing Co., Gunter Nolte, Dennis Oppenheim, Bruce Parsons, Andy Patton, Harold Pearse, Rober Racine, Yvonne Rainer, Clive Robertson, Ellison Robertson, Martha Rosler, Tom Sherman, Rebecca Singleton, Robert Smithson, Michael Snow, Jeffrey Spalding, Lisa Steele, Françoise Sullivan, David Tomas, Serge Tousignant, Bill Vazan, Bill Vazan with Ian Wallace, Robert Walker, Jeff Wall, Ian Wallace, Theodore Wan, Douglas Waterman, John Watt, Lawrence Weiner, Irene F. Whittome, Joyce Wieland, Martha Wilson, Paul Woodrow, Jon Young, Tim Zuck.

Organized by the Art Gallery of Alberta, Justina M. Barnicke Gallery (Hart House, University of Toronto) and the Vancouver Art Gallery, in partnership with the Leonard & Bina Ellen Art Gallery (Concordia University), and Halifax INK.

Financially supported by the Museums Assistance Program of the Department of Canadian Heritage, and the Canada Council for the Arts.

International conference.

Installation by Adrian Blackwell – Model for a Public Space, [knot]. In Reading Room, Hart House, University of Toronto.

Exhibitions –

House Beautiful. This exhibition examines new aestheticism in contemporary practice through the work of Canadian artists Mary Anne Barkhouse, Drew Simpson, and Cole Swanson, among others. As an exploration of contemporary society and its decadences, the exhibition engages the visual, emotional, and kinaesthetic experience of art through sculpture, installation, and painting. Inspired by Oscar Wilde's concept of “the house beautiful,” this exhibition brings together works by artists who support and subvert visual decadence through the representation of domestic interiors and the furniture that occupies those spaces. Curated by Dawn Owen.

Building a Legacy, Curating a Collection. This exhibition features the work of contemporary Canadian artists who have contributed to and continue to define art in Guelph, including current and former faculty and graduates of the School of Fine Art and Music, as well as artists who have had significant influence in the shaping of our exceptional art community. This exhibition reveals the legacy of art in Guelph through the MSAC's commitment to building a contemporary collection that includes major works by Guelph artists, including: Jordan Broadworth, Greg Denton, Susan Dobson, FASTWÜRMS, John Kissick, Suzy Lake, Jean Maddison, Eileen MacArthur, Stu Oxley, Margaret Priest, Arthur Renwick, Tony Scherman, Ron Shuebrook, and David Urban, among others. Curated by Judith Nasby.

Beyond the Frame. This annual fundraising exhibition and art auction features works by established and emerging artists from Guelph and the surrounding region, including: Jane Buyers, John Kissick, Barry McCarthy, Scott Pattinson, Cheryl Ruddock, and Ehryn Torrell, among others. The live auction party takes place on Sat 13 Nov 2010 (Tickets: $60).

Sculpture Park. Open daily from dawn to dusk. Featuring 35 permanently sited outdoor sculptures, including, Short Life, Long Branch by Michael Davey.

The Blind Architect Meets Rembrandt.
São Paulo-based artist / theoretical architect Alexander Pilis presents his 2004 video-work The Blind Architect Meets Rembrandt as the “centrepiece” for a site-responsive installation. He will be working with Senior Curator Ihor Holubizky to develop and articulate a dialogue between the explicit and implicit visual texts in his video-work, and works from the Museum's European historical, modern, and contemporary collection.

Artist's talk by Alexander Pilis, in connection with his video work, The Blind Architect Meets Rembrandt.

There Is No Limit to the Line.
This exhibition, including works from the McMaster collection by 20th-century European and Canadian artists, explores a range of strategic approaches to mark-making.

Shelagh Keeley.
Curated by Linda Jansma and Carol Podedworny. At a very early point in the debates that challenged and, ultimately, changed the global art world, Shelagh Keeley was investigating issues such as access, representation and diversity. This retrospective exhibition also includes recent work and was produced in collaboration with the Robert McLaughlin Gallery, Oshawa.

Artist's talk by Shelagh Keeley.

Farhad Nargol-O'Neill: Animas Res – Soul Objects – solo exhibition. Curator: Anneliese Neumann.
This exhibition is comprised of works of sculpture, sculptural works in bas-relief, and examples of automatic writing. All works function as individual repositories of the soul of the creator – more than mnemonic devices, they exist corporeally and in multiple realms at once. They assert belief and the truth behind experience. They are objects which take into account the places the artist has been, experienced, the ideas and faith notions that have determined his art and the nature of his investigations. The nature of a work of art as a transubstantiated soul-object, the relationship between the artist and viewer and the the art object – these are all represented in both process and result.

(See Downtown Toronto for info on Animas Res – Soul Objects II exhibition at Gallery U @ 111, Nov 11-Dec 9; and for info on Fully Present group exhibition curated by Farhad Nargol-O'Neill at Gallery U @ 111, Sep 16-Oct 15 – click here).

FASTWÜRMS – Unicorn Tip.
To Jan 2011 in Niche Project Space.
To Apr 1, 2011 in Rodman Hall's garden.
In 1979 Kim Kozzi and Dai Skuse created FASTWÜRMS, a union of two Ontario-based multidisciplinary artists who question nature, the environment and issues of power. Known for melding high and popular cultures, bent identity politics and social exchange, FASTWÜRMS transforms the grounds of Rodman Hall and the Niche Project Space into realms of commonplace magick that draw attention to the everyday fantastic.
FASTWÜRMS has exhibited and created public commissions and installations, performance, video and film projects across Canada, in the United States, Europe, Korea and Japan.

Duncan MacDonald – Little Revolutions.
Working in video, sculpture, performance and installation, St. Catharines-based artist Duncan MacDonald creates work that is fundamentally about sound. Combining new and obsolete technologies, MacDonald investigates the relationship of the visual to the aural, overturning the classical hierarchy of the senses and challenging conventions of perception. Through labour-intensive processes at once poetic and absurd, MacDonald draws on his experience as artist, professor, and father to explore the sonic stuff of everyday life, engaging in revolutions both formal and conceptual, in an attempt to gently tweak the world around him.

BGL – SOLOS.
Known for creating self-referential in situ installations that take over architecture and encompass a gallery's context, the artist collective BGL (Jasmin Bilodeau, Sébastien Giguère and Nicolas Laverdière) will participate in a residency (Sep 13-29) and exhibition (Oct 1-Nov 20) project at Rodman Hall Art Centre. Living and working in and out of the gallery and the City of St. Catharines for a three-week period, BGL will engage with the physical space and grounds of Rodman Hall.
BGL's work speaks directly to contemporary culture and the nostalgia of memory. Their work is social process, not solely presentation, and the result is a public-spirited art built through experience in which a network of social relations results. By inserting themselves in the space, the public becomes part of their process. To a great extent the contemporary stage they work on includes mass media and their language of signs and symbols penetrates to include the stage of the public mind. Their thinking refers to what extends beyond them and includes participation from the environment in which they work. They raise issues about the role artists play in our culture. These roles are neither exclusively aesthetic nor political in practice, but rather seemingly opposite poles encompassed by a working relationship that is social in nature. BGL will not only work from location but also form the nature of their engagement with the congested, cacophonous intersections of personal interests, collective values, social issues, political events and cultural patterns that mark out civic life. Theirs is a process in which research, dialogue and experimentation take part and the final result is situated between reality and fiction.

Exhibitions –

Traffic: Conceptual Art in Canada 1965-1980.
Justina M. Barnicke Gallery, Hart House; University of Toronto Art Centre, University College; Blackwood Gallery, University of Toronto Mississauga; and Doris McCarthy Gallery, University of Toronto Scarborough.
Curated by Grant Arnold, Catherine Crowston, Barbara Fischer, Michèle Thériault with Vincent Bonin, and Jayne Wark.

Traffic is the first major account of the development of Conceptual Art in Canada from the mid-1960s to the early 1980s. By far one of the most important and long-lasting art movements of the 20th century, Conceptual Art originated within the social and political turmoil of the 1960s – from feminism and gay liberation to anti-racism and anti-war movements – and presented a profound challenge to the institution of art. This exhibition focuses on specific manifestations of Conceptual Art practices in urban centres across Canada, with particular attention to the inter-regional and international traffic that facilitated fertile cross-pollinations and exchanges amongst artists in this country.

Vito Acconci, David Askevold, John Baldessari, Bruce Barber, Marcella Bienvenue, Robert Bowers, Wallace Brannen, Tom Burrows, James Lee Byars, Eric Cameron, Colin Campbell, Ian Carr-Harris, Tim Clark, Robin Collyer, Carole Condé and Karl Beveridge, Michael de Courcy, Sylvain Cousineau and Francis Coutelier, Gary Coward, Kenneth Coutts-Smith, Stephen Cruise, Greg Curnoe, Max Dean, Tom Dean, Jean-Marie Delavalle, Jan Dibbets, Christos Dikeakos, Graham Dube, Brian Dyson, Dean Ellis, Michael Fernandes, Gerald Ferguson, Robert Fones, Vera Frenkel, Jeff Funnell, Charles Gagnon, Yves Gaucher, General Idea (AA Bronson, Felix Partz, Jorge Zontal), Raymond Gervais, Dan Graham, Rodney Graham, John Greer, Hans Haacke, Noel Harding, John Heward (in collaboration with Alex Neuman), Douglas Huebler, Image Bank (Michael Morris and Vincent Trasov), Richards Jarden, Bill Jones, Donald Judd, Pat Kelly, Garry Neill Kennedy, Roy Kiyooka, Robert Kleyn, Joseph Kosuth, Michèle Lalonde, Suzy Lake, Gordon Lebredt, Les Levine, Glenn Lewis, Sol LeWitt, Lee Lozano, Ken Lum, Duane Lunden, Don Mabie, Allan MacKay and Lionel Simmons, Arnaud Maggs, Brian MacNevin, Barry MacPherson, John McEwen, Robin McKenzie, Albert McNamara, Ian Murray, N.E. Thing Co., Gunter Nolte, Dennis Oppenheim, Bruce Parsons, Andy Patton, Harold Pearse, Rober Racine, Yvonne Rainer, Clive Robertson, Ellison Robertson, Martha Rosler, Tom Sherman, Rebecca Singleton, Robert Smithson, Michael Snow, Jeffrey Spalding, Lisa Steele, Françoise Sullivan, David Tomas, Serge Tousignant, Bill Vazan, Bill Vazan with Ian Wallace, Robert Walker, Jeff Wall, Ian Wallace, Theodore Wan, Douglas Waterman, John Watt, Lawrence Weiner, Irene F. Whittome, Joyce Wieland, Martha Wilson, Paul Woodrow, Jon Young, Tim Zuck.

Organized by the Art Gallery of Alberta, Justina M. Barnicke Gallery (Hart House, University of Toronto) and the Vancouver Art Gallery, in partnership with the Leonard & Bina Ellen Art Gallery (Concordia University), and Halifax INK.

Financially supported by the Museums Assistance Program of the Department of Canadian Heritage, and the Canada Council for the Arts.

International conference.

The Art of Devotion: Byzantine and Post-Byzantine Icons.
This exhibition, drawn from the University of Toronto's Malcove Collection, is organized around two central themes: icons dedicated to Mary and the Christ Child, and icons representing Christ and important saints in the Christian tradition.

Lecture –

The 14th Annual Janet E. Hutchison Lecture – delivered by Lisa Steele, artist and Professor and Associate Chair, Visual Studies, Department of Art, University of Toronto. Lecture venue: University College, 15 King's College Circle, Room 140.