Anna Hudson

Course Director: Anna Hudson, Assistant Professor, Department of Visual Arts
Telephone: 416-736-2100 ext. 77427

Office hours: Tuesdays 11am-1pm GCFA 238, or by appointment
Undergraduate Prerequisite: 3rd or 4th year standing.

The colonial history of Arctic settlement circumscribes the relationship of Inuit, Inupiat, Yupik, Aleut, and other First Peoples to the Western nations of Canada , Greenland , Norway , Finland , Sweden , Russia and the United States in which they live. In Canada , recent concerns over Arctic sovereignty have re-intensified the colonial project to establish federal control over Inuit lands. By contrast, Canadian Inuit have mobilized for self-governance since the early 1970s, succeeding in 1999 with the establishment of Nunavut as an Inuit territory. Inuit cultural organizations continue to lobby for awareness of their claims, and to cultivate circumpolar cooperation between circumpolar First Peoples. At the same time, Inuit art – familiar to Canadians as emblematic of national identity – soars in price through an increasingly globalized market.

This integrated seminar course focuses on the relationship between cultural policy, political thought, and visual culture – including video and sound projects, new media and television, sculpture, printmaking, material culture and oral tradition – in Inuit and non-Inuit relations. Southern markets of cultural consumption of the “idea of North,” and museological and popular culture representations of northern indigenous peoples, will be addressed separately from visual culture produced by and for Inuit and circumpolar peoples. Indigenous political and cultural organizations will be noted as they address cultural and economic issues of sustainability. Discussion of non-Western ideas of time, history, traditional knowledge, and community will be encouraged.

To describe the relationship between Inuit and non-Inuit cultural policy, political thought, and visual culture

To consider the future of Canadian Inuit culture in light of global environmental change and the dislocation of north/south geographic boundaries

To examine the place of Canadian Inuit art in the international contemporary art scene

Because this class integrates graduate and undergraduate students, there are two levels of evaluation.

Lateness Penalty: Assignments received later than the due date will be penalized 5% per day. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., will require supporting documentation (e.g., a doctor's letter).

Focusing on your chosen work from the York University Collection, prepare a “fair market appraisal” in which describe the work and argue its current monetary value. The KEY goals of this assignment are to situate the carving in the canon of Inuit sculpture and to reveal the relationship of this canon to the art market.

Library and internet research on the artist In addition to careful comparable sales (not estimates) data are KEY. For the latter, consult Waddington's website (see: http://www.katilvik.com/ ) in addition to Canadian art sales indices published annually ( N 8670 C35 SCOTT-REF non-circulating). You may also find price listing in commercial galleries/websites useful. Your appraisal should be as concise and clear as possible.

Provide two paragraphs in which you describe the work in your own words. Consider its place in the history of Inuit art. Be sure to footnote any citations and provide a relevant bibliography. Images are also useful.

Following Mary Simon's presentation on October 18th, “Inuit Nunaat”, write a summary of her argument in which you isolate what you consider to be her most important message. Complete your summary with 1 (one) question you would like to ask Mary Simon. Your question must be as simply stated as possible, and should demonstrate your critical engagement with her position as president of ITK. Provide a one paragraph rationale for your question explaining why it pertains to the course goals. Be sure to site the readings for October 18th, or any other readings for the course.

Six questions will be posed. You will answer three. One question will concern the websites cited at the end of this course outline.

Your answers should be typed, double spaced, and 500 words in length. Each answer is valued at 10% for a total value of 30%. All answers should be based on the course kit readings (including internet sites) or articles distributed in class, guest lectures and class discussions, and videos viewed in class. In your answer, please provide the course kit page number in brackets as a citation.

If you would like me to review a first draft, please email it to me by November 22nd

A 250 focused discussion of the work. Catalogue entries are publishable short discussions of an artwork intended for the general public. In your catalogue entry, you must – given our appreciation of postcolonial issues of representation – cite an Inuit perspective which opens the image to a culturally-engaged significance.

A 1000 word “think piece” in which you consider one of the 3 goals for the course in relation to selected course kit readings (including internet sites) or articles distributed in class, guest lectures and class discussions, and videos. You must cite these sources in your paper and provide a bibliography.

To describe the relationship between Inuit and non-Inuit cultural policy, political thought, and visual culture

To consider the future of Canadian Inuit culture in light of global environmental change and the dislocation of north/south geographic boundaries

To examine the place of Canadian Inuit art in the international contemporary art scene.

Attendance, preparation and vocal participation are essential to the success of the course. Assigned readings (as prioritized each week from the Reading List) must be completed in advance of each class as you will be asked to summarize information and ideas for your colleagues, and to participate effectively in class discussion. Your voice is important and will be noted.

Library and internet research on the artist In addition to careful comparable sales (not estimates) data are KEY. For the latter, consult Waddington's website (see: http://www.katilvik.com/ ) in addition to Canadian art sales indices published annually ( N 8670 C35 SCOTT-REF non-circulating). You may also find price listings in commercial galleries/websites useful. Your appraisal should be as concise and clear as possible.

Six questions will be posed. You will answer three. One question will concern the websites cited at the end of this course outline.

Your answers should be typed, double spaced, and 500-800 words in length. Each answer is valued at 10% for a total value of 30%. All answers should be based on the course kit readings (including internet sites) or articles distributed in class, guest lectures and class discussions, and videos viewed in class. In your answer, please provide the course kit page number in brackets as a citation.

If you would like me to review a first draft, please email it to me by November 22nd

A 2000 word essay in which you consider one of the 3 goals for the course in relation to selected course kit readings (including internet sites) or articles distributed in class, guest lectures and class discussions, and videos. You must cite these sources in your paper and provide a bibliography.

To describe the relationship between Inuit and non-Inuit cultural policy, political thought, and visual culture

To consider the future of Canadian Inuit culture in light of global environmental change and the dislocation of north/south geographic boundaries

To examine the place of Canadian Inuit art in the international contemporary art scene.

There is also an academic integrity website with complete information about academic honesty. Students are expected to review the materials on the Academic Integrity website (www.yorku.ca/academicintegrity).

York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials.

It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations.

• Office for Persons with Disabilities: N108 Ross, 416-736-5140, www.yorku.ca/opd

• Learning and Psychiatric Disabilities Programs - Counselling & Development Centre: 130 BSB, 416-736-5297, www.yorku.ca/cdc

• Atkinson students - Atkinson Counselling & Supervision Centre: 114 Atkinson, 416-736- 5225, www.yorku.ca/atkcsc

York students are subject to the York University Policy for the Ethics Review Process for Research Involving Human Participants. In particular, students proposing to undertake research involving human participants (e.g., interviewing the director of a company or government agency, having students complete a questionnaire, etc.) are required to submit an Application for Ethical Approval of Research Involving Human Participants at least one month before you plan to begin the research. If you are in doubt as to whether this requirement applies to you, contact your Course Director immediately

York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus for an in-class test or examination pose such a conflict for you, contact the Course Director within the first three weeks of class. Similarly, should an assignment to be completed in a lab, practicum placement, workshop, etc., scheduled later in the term pose such a conflict, contact the Course director immediately.

Please note that to arrange an alternative date or time for an examination scheduled in the formal examination periods (December and April/May), students must complete an Examination Accommodation Form, which can be obtained from Student Client Services, Student Services Centre or online at www.registrar.yorku.ca/pdf/exam_accommodation.pdf

Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavour. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class. A statement of the policy and procedures involving disruptive and/or harassing behaviour by students in academic situations is available on the York website www.yorku.ca/secretariat/legislation/senate/harass.htm

Please note that this information is subject to periodic update. For the most current information, please go to the CCAS webpage (see Reports, Initiatives, Documents): www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm. [March 22, 2006]

1) Gillian Robinson, ed. Isuma Inuit Studies Reader: An Inuit Anthology, Montreal : Isuma Publishing, 2004.

Call in advance to ensure a kit is available for pick up
3) Cynthia Waye Cook, Inuit sculpture in the collection of the Art Gallery of York University , North York , On: The Gallery, 1988.

Students will be responsible for transportation costs to galleries and auction houses downtown:

Keith J. Crowe, “Qallunaat Governments and Inuit – A Brief History,” Inuktitut no.82 (1997), pp.27-40.

Zebedee Nungaq, “Zebedee Nungaq on Nunavut ,” Inuktitut no. 85 (1999), pp.20-33.

Henriette Rasmussen, “Inuit – A struggle for cultural space,” Rethinking Nordic Colonialism: A Postcolonial Project in Five Acts, pp.1-9

The colonial history of the Nordic region is a dark chapter that seems to have slipped the memory of many of the Nordic populations. Although it continues to make itself very much felt in the region's former colonies, this history is alarmingly absent in the collective memory of the once-colonizing Nordic countries.

With Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts, we aim to shed light over this history. Not only do we hope to explain why this past has been forgotten in some parts of the region. We also want to show how this history continues to structure the Nordic societies today, and how our contemporary problems of intolerance, xenophobia, and nationalism have their roots in this past.

Hopefully, the project will also demonstrate that the postcolonial state that the region finds itself in today is not only a story of oppression and sad destinies. The historical chain of cultural clashes between colonizers and colonized have resulted in other formations of modernity and other value systems different from those of the West. If we dare engaging them, they might pose fruitful alternatives to existing norms and values.

Boletta Benedictsen Blaagaard Rolocating, Whiteness in Nordic Media Discourse, 1-24.

Makere Stewart-Harawira, Nation States and the Struggle for Empire: Indigenous Peoples in the Interregnum, pp.1-19

Richard William Hill, Representation and Problems for Indigenous North American Agency, pp.1-30.

Tobias Hubinette, Between European Colonial Trafficking, American Empire Building and Nordic Social Engineerig:Rethinking International Adoption from a Postcolonial and Feminist Position, pp. 1-11.

Nancy Wachowich, “An Overview of Iglulingmiut and Mittimatalingmiut Culture and History,” pp.131-136.

Charles Camsell, “The New North,” Canadian Geographic Journal (December 1946), pp.264-277.

Richard Finnie, Canada Moves North, (Toronto: The Macmillan Company of Canada, 1948), pp215-226

David Damas, Arctic Migrants, Arctic Villagers: The Transformation of Inuit Settlement in the Central Arctic ( Montreal and Kingston : McGill-Queen's University Press2002), pp187-204.

Melanie Gagnon and Iqaluit elders, Inuit recollections on the Military Presence in Iqaluit (Iqaluit: Nunavut Arctic College , 2002), pp.305-337.

Anna Hudson, “The Legend of Johnny Chinook: A.Y. Jackson in the Canadian West and Northwest,” in The Group of Seven in Western Canada ( Toronto : Key Porter Books; in association with the Glenbow Museum , Calgary ), pp. 113-134.

The class will move to The Joan Goldfarb Visual Arts Study Centre, 2nd floor CFA, to review a selection of sculptures (carvings) from the York University collection. Each student will choose one work for close examination and research.

Cynthia Waye Cook, “Introduction,” Inuit Sculpture: In the Collection of the Art Gallery of York University ( North York : AGYU, 1988.

Patricia Feheley, “Rediscovering Inuit Art at York University ,” Inuit Art Quarterly (Fall1987), pp.6-9.

Nelson Graburn, “The Discovery of Inuit Art: James A. Houston – Animateur,” Inuit Art Quarterly (Spring 1987), pp.3-5.

James Houston, Eskimo Handicrafts, (Ottawa: Canadian Handicrafts Guild and the Department of resources and Development, 1951), pp.1-32.

James Houston, Canadian Eskimo Art, (Ottawa: Northern Affairs and National Resources, 1956), 1-38.

Established over forty years ago, Feheley Fine Arts has become synonymous with excellence in the field of Inuit art. The gallery, located in the prestigious Yorkville area of Toronto , deals exclusively in fine quality original works of Canadian contemporary art. The gallery benefits from the pedigree of two generations of owners who have been vitally concerned with, and connected to, the contemporary art scene in Canada . Feheley Fine Arts was founded by M.F. ("Budd") Feheley, a prominent collector and dealer in Canadian contemporary art. The gallery is now owned and directed by his daughter Patricia, who has extensive expertise in the field of Inuit art. Today, the gallery maintains a busy schedule of ongoing exhibitions and events throughout the year. Feheley Fine Arts has an impressive inventory of early and contemporary Inuit art as well as representations of other contemporary Canadian fine art including work by J.F. Lansdowne, David Alexander, K.M. Graham, Toni Onley, and Ahmoo Angeconeb. Feheley Fine Arts has been instrumental in the development of numerous private, public and corporate collections. The gallery offers a range of consultation and curatorial services including art appraisal, collection management, display and exhibition advice. Our expertise rests especially in the research and marketing of rare, early private collections of Inuit art.

Jean Blodgett, “After Essay – And What About Inuit Art?,” in On Aboriginal Representation in the Gallery, Lynda Jessup with Shannon Bagg eds. ( Hull : Canadian Museum of Civilization, 2002), pp.205-214

Andre Cote and Sarah Cox, Evaluation of the Inuit Art Foundation ( Ottawa : Department of Indian Affairs and Northern Development, 2001), pp.1-49, and pp.1-2 for “Terms of Reference”

Budd Hall, “Breaking Educational Silence: For Seven Generations, An Information Legacy of the Royal Commission on Aboriginal Peoples,” in Indigenous Knowledges in Global Contexts, George Sefa Dei, Budd Hall, and Dorothy Goldin Rosenberg, eds. ( Toronto : University of Toronto Press, 2000), pp. 202-212.

Jean Malaurie, Hummocks: Journeys and Inquiries among the Canadian Inuit, ( Montreal and Kingston : McGill-Queen's University Press, 2007), pp.ix-xxvi.

Carol Payne, “Lessons with Leah: re-reading the photographic archive of nation in the National Film Board of Canada's Still Division,” Visual Studies, vol. 21, no.1 (April 2006), pp.4-22.

Leanne Stuart Pupchek, “True North: Inuit Art and the Canadian Imagination,” American Review of Canadian Studies (2001), pp.191-201.

Using contemporary Inuit actors, Nunavut recreates the traditional nomadic lifestyle of Inuit in the Igloolik region of the Canadian Arctic in 1945 - just before government and settlement life began. The series follows five fictional families through the different seasons of an Arctic year, from the glorious northern spring to a uniquely Inuit Christmas Day. In original Inuktitut with English subtitles. 13 half hour television series (6.5 hours).

“Interviews – Nunavut (Our Land) and Unikaatuatit (Story Tellers), pp.20-31.

Alexina Kublu, Frederic Laugrand, Jarich Oosten, “The Nature of Inuit Knowledge,” pp.122-125.

Nancy Wachowich, “Saqiyuq: Stories from the lives of three Inuit women,” pp.183-214.

John Amagoalik, “Will Inuit Disappear from the Face of the Earth?,” pp.209-211.

in Northern Voices: Inuit Writing in English, Penny Petrone ed. (Toronto: University of Toronto Press, 1988).

Isabelle Dubois, “On the Set of Before Tomorrow,” Inuktitut no.101 (2006), pp.30-39.

Karla El-Hassan, “Inuit Writing After the Sixties: Robin Gedalof's Anthology Paper Stays Put,” in Probing Canadian Culture. Peter Easingwood, Konrad Gross, Wolfgang Klooss (Augsburg: Av-Verlag, 1991), pp. 203-209.

Aviaja Egede Lynge, “The Best Colony in the World,” Rethinking Nordic Colonialism: A Postcolonial Project in Five Acts, pp.1-9

Lisa Koperqualuk, “Inuit Circumpolar Conference 2006,” Inuktitut no.101 (2006), pp.20-29

Welcome to our web site. Inuit Tapiriit Kanatami (ITK) is the national Inuit organization in Canada , representing four Inuit regions – Nunatsiavut (Labrador), Nunavik (northern Quebec ), Nunavut , and the Inuvialuit Settlement Region in the Northwest Territories . We live in the Canadian Arctic, the largest geographic part of Canada . This site reflects our ancient and modern history . It allows us to communicate to the global community instantly, making the notion of a “Global Village” more real.

Climate Change and Global Warming affect the Arctic regions in a very tangible way. This affects our health, as you will learn in the “ ITK Health Department ” area of our site, and our environment , as is clear in that part of the site. Politically, Inuit are united, which is reflected in our name – Inuit Tapiriit Kanatami – which means “Inuit are united in Canada ”. Our logo also reflects this as it features four Inuit, representing our four regions, around a maple leaf in snow white. I hope you enjoy your visit to our site, and if you can, visit our land.

Mark Sandiford and Zebedee Nungak, Qallunaat! Why White People Are Funny, 52.5 min

Mosha Folger, “Life on the (not so mean) streets,” Inuktitut no.100 (2006), pp.27-32.

July Papatsie, “Challenging the Public's Expectations of Inuit Art,” Transitions: Canadian Contemporary Indian and Inuit art (Ottawa: Department of Foreign Affairs and International Trade and Department of Indian Affairs and Northern Development, 1997), pp.2-5 and 14-19, 32-37, 40-41, 48-61.

Taqralik Partridge, “Barbie dilutes our heritage,” Inuktitut no.98 (2005), pp.48-50.

Super Shamou is the first Inuk superhero, created by Barney Pattunguyak and played by Peter Tapatal both of Baker Lake , Northwest Territories . Super Shamou is an ordinary guy who got his "super" powers from a shaman's amulet of caribou sinew and teeth.
This wonderful comic program features a very unlikely superhero performing daring rescues of children in peril, while teaching both them and us some realities of life in the North. The Super Shamou series has achieved great popularity and a dedicated following in the North and should prove a favourite here in the South as well. The Inuit Broadcasting Corporation is a unique organization that produces original television in five northern communities, then distributes programmes by satellite to viewers all over the North. The director of Super Shamou is one of many Inuit people working at the Baker Lake station.

Duncan McLean, President of Waddington's™ and head of the Inuit and Native North American Art departments, joined Waddington's™ in 1978 following studies in anthropology at Trent and York Universities . Duncan is recognized as one of the leading international experts in Inuit Art and credited with helping to build the highly successful Inuit Art market. Duncan 's Inuit Art auctions attract clients from across North America and Europe and have realised over $12 million in top, record-setting prices.

Dorset Fine Arts was established in Toronto in 1978 as the wholesale marketing division of the West Baffin Eskimo Co-operative. The Co-operative is in Cape Dorset , Nunavut , and it is unique among the Arctic Co-operatives for its sustained focus on the arts and artists of the community. The Annual Graphics Collection from Cape Dorset has been released since 1959, and the Co-operative also represents many acclaimed sculptors.

Dorset Fine Arts was established to continue to develop and serve the market for Inuit fine art produced by the artist members of the Co-operative. Sales of prints, drawings and sculpture are made through Dorset Fine Arts showroom in downtown Toronto , which receives regular shipments from Cape Dorset . The showroom is not open to the public, but to galleries in Canada , the United States and Europe .

Incorporated in 1959, the West Baffin Eskimo Co-operative (WBEC) was the first Inuit-owned co-operative to be formed with start-up assistance from the Canadian federal government. Over the next five years, twenty co-ops were established across the Northwest Territories , ranging from Cape Dorset in the east to Holman Island in the west. Today, there are thirty-five. These community co-ops were established to provide income, employment and services to their growing communities.

Many enterprises were tried over the years, some more enduring than others. Early attempts to develop a tourist camp near the community proved premature, but several initiatives in arts and crafts met with short-term success and critical acclaim, especially in jewelry, fabric printing and typography. The co-op also operates a retail grocery and supply store. Established in 1960, it has grown substantially over the years and now serves as the community's Home Hardware and Yamaha snowmobile dealership. The co-op also administers several government community service contracts, providing essential services such as the local delivery of heating fuel and gasoline. It's most enduring contribution however, to both the community of Cape Dorset and the world beyond, has been the prints and carvings produced by its extraordinary stable of artist members.

WBEC is wholly owned by its members, and the majority of adults in the community are members of the co-operative. All members are residents of Cape Dorset , and almost all are of Inuit descent. Through their Board of Directors, the membership plays an active role in the governance and management of the organization. They also share in its profits in the form of patronage dividends.

Nancy Campbell, “Annie Pootoogook,” Annie Pootoogook ( Toronto : The Power Plant, 2006), 11-25

Ingo Hessel, “Contemporary Inuit Art,” in Visions of Power: Contemporary Art by First Nations, Inuit, and Japanese Canadians (Toronto: The Earth Spirit Festival, 1991), pp.6-15.

George Swinton, “Socioeconomic Thoughts About Contemporary Inuit Art,” New Terriories 350/500 Years After: An Exhibition of Contemporary Aboriginal Art in Canada , (Montreal: Ateliers Vision Planetaire, 1992), pp.41-43

Shannon Bagg, “The Anthropology of Inuit Art: A Problem for Art Historians,” in On Aboriginal Representation in the Gallery, Lynda Jessup with Shannon Bagg eds. ( Hull : Canadian Museum of Civilization, 2002), pp.183-194.

Homi Bhabha, “The Other Question: Difference, Discrimination and the Discourse of Colonialism,” in Out There: Marginalization and Contemporary Cultures (New York: The New Museum of Contemporary Art, 1990), pp.71-87.

Joseph Couture, “Native Studies and the Academy,” in Indigenous Knowledges in Global Contexts, George Sefa Dei, Budd Hall, and Dorothy Goldin Rosenberg, eds. (Toronto: University of Toronto Press, 2000), pp.157-167.

J. Edward Chamberlain, If this is your land, where are your stories? ( Toronto : Vintage Canada , 2004), pp.8-25

Pamela Stern, “From Area Studies to Cultural Studies to a Critical Inuit Studies,” pp.253-266.

in Critical Inuit Studies: An Anthology of Contemporary Arctic Ethnography, Pamela Stern and Lisa Stevenson eds., ( Lincoln : University of Nebraska Press, 2006)

Additional Resources

Aboriginal and Circumpolar Affairs Division (Department of Foreign Affairs, Canada )

The Aboriginal and Circumpolar Affairs Division coordinates and leads the implementation of the Northern Dimension of Canada's Foreign Policy (NDFP). The NDFP sets out a vision for Canada in the circumpolar world, based on cooperation with Northerners and our circumpolar neighbours. The northern foreign policy promotes Canadian interests and values as we work to address the issues we have in common with our northern partners. Canada has committed $2 million a year for the implementation of the NDFP.

~ your single window to Canadian Aboriginal on-line resources, contacts, information, and government programs and services. The portal offers ease of access and navigation to listings of Aboriginal associations, businesses, organizations, bands, communities, groups, news and peoples.

The Aboriginal Curatorial Collective / Collectif des Conservateurs Authochtone (ACC/CCA) supports, promotes and advocates on behalf of the work of Aboriginal art and cultural curators and associated Aboriginal cultural workers in Canada and internationally.

The Co-operatives in Canada 's north share a vision of people working together to improve their social and economic well-being. We pursue this vision through democratically controlled
Co-operative businesses that operate on the values of fairness, equality, self-responsibility and mutual self-help. Our Co-operatives believe in the ethical values of honesty, openness, social responsibility and caring for others.

The Arctic Council is an intergovernmental forum for addressing many of the common concerns and challenges faced by the Arctic states ; Canada , Denmark (including Greenland and the Faroe Islands), Finland , Iceland , Norway , the Russian Federation , Sweden and the United States .

The Council is a unique forum for co-operation between national governments and indigenous peoples. Six international organizations representing many Arctic indigenous communities have the status of Permanent Participants of the Arctic Council and are involved in the work of the Council in full consultation with governments. The indigenous populations in the Arctic are represented by:

The Indigenous Peoples Secretariat of the Arctic Council helps Arctic indigenous organisations to work together through the Arctic Council.

Observers to the Arctic Council include European non-arctic countries, international organisations and NGOs.

The institute's mandate is to advance the study of the North American and circumpolar Arctic through the natural and social sciences, the arts and humanities and to acquire, preserve and disseminate information on physical, environmental and social conditions in the North.

ArcticNet is a Network of Centres of Excellence of Canada that brings together scientists and managers in the natural, human health and social sciences with their partners in Inuit organizations, northern communities, federal and provincial agencies and the private sector to study the impacts of climate change in the coastal Canadian Arctic. Over 100 ArcticNet researchers from 27 Canadian universities and 5 Federal departments collaborate with research teams in the USA , Japan , Denmark , Sweden , Norway , Poland , the United Kingdom , Spain , Russia , Greenland and France .

Avataq Cultural Institute is a non-profit organization dedicated to protecting and promoting the indigenous language and culture of Nunavik Inuit. Our head office is located in Inukjuak, Nunavik (Nothern Quebec ) and our alternate office is in Westmount ( Quebec ). Avataq's programs and services include: the promotion and preservation of the Inuttitut language, Nunavik Museums Program and Inuit Art Collection, Archaeology, Artists' Support, Genealogy, Documentation Centre and archives, Local Cultural Committees, Traditional Skills courses, publications and research, and more. Through our language, heritage and cultural programs, Avataq Cultural Institute strives to support and preserve Inuit culture for generations to come.

Nunavut -- "our land" in the Inuktitut language - has been home to Inuit for millennia and part of Canada for more than a century. Embracing both traditional knowledge and values and the new opportunities presented by technologies like the Internet, the Government of Nunavut now provides a wide range of services tailored to the unique needs of approximately 29,500 residents.

Founded in 1999, the Gwich'in Council International represents approximately 9,000 Gwich'in people in Canada and Alaska , who live in the northernmost third of the Yukon and adjacent areas in Alaska and the Northwest Territories . The Gwich'in largely depend on harvesting the migratory Porcupine Caribou herd for their livelihood. As a result, they have been vocal opponents of proposed oil exploration in the "1002" lands of the Arctic National Wildlife Refuge (ANWR) on Alaska 's north coast, which represent the herd's calving grounds.

Igloo Talk is a FREE on-line community geared toward northern issues.
Register for FREE and share your views with Igloo Talkers and the rest of the world.

Created in 1966, the Department of Indian and Northern Affairs Canada (INAC) is a highly decentralized organization which responds to the varying needs of a culturally, economically and geographically diverse clientele. The legislation establishing the department, as amended in 1970, made its Minister responsible for Indian and Inuit affairs, the residents of the Yukon and Northwest Territories and their resources. The department fulfils the lawful obligations of the federal government to Aboriginal peoples arising from treaties, the Indian Act and other legislation.

This bibliography is an introductory reading list intended to increase basic awareness of the history and culture of Inuit of Canada. All materials listed in this bibliography are available at the Departmental Library of Indian and Northern Affairs Canada in Ottawa . Departmental employees and other libraries may arrange loans by telephone, fax, email, or regular mail. Anyone who is not an employee of Indian and Northern Affairs Canada who wishes to borrow any of these items must contact their own public, school, or office library to arrange an interlibrary loan. The Library would like to thank Mr. Barry Pottle of Indian and Northern Affairs Canada, Mr. Morley Hanson of the Nunavut Sivuniksavut Training Program and Prof. Louis-Jacques Dorais of the Department of Anthropology, Universite Laval for their assistance in the preparation of this bibliography.

Through the DIAND Act, the Minister of DIAND is the lead federal minister in the North. The Minister's responsibilities are delivered primarily through the programs and services offered by the Northern Affairs Program which fall into two key areas:

supporting northern political and economic development through the management of federal interests

promoting sustainable development of the North's natural resources and northern communities.

The Arctic Council Indigenous Peoples' Secretariat is a support secretariat for the International Indigenous Peoples' Organisations that are Permanent Participants to the Arctic Council. IPS does not speak for the Permanent Participants. Instead, it creates opportunities for the Indigenous Peoples' Organisations to speak for themselves, and helps provide them with necessary information and materials.

There have been a number of major international science initiatives in Polar Regions since the first International Polar Year in 1882-83 and all have had a major influence in overhauling our understanding of global processes in these important areas. These initiatives have involved an intense period of interdisciplinary research, collecting a broad range of measurements that provide a snapshot in time of the state of the polar regions. The last such initiative was the International Geophysical Year in 1957-58, involving 80,000 scientists from 67 countries. The Polar Year will actually run from March 2007-March 2009.

The International Polar Year (IPY) 2007-2009 is a two year program of science, research & education focused on the Arctic and Antarctic regions. Canadian and international researchers from universities, northern communities, and governments are working to advance our understanding of cultural, social, economic and health dimensions, as well as geophysical, climate and biological processes in polar regions.

Under construction This webliography is a personal research tool developed to access resources on the internet related to Inuit art and culture. It is part of a five year doctoral research project examining issues of representation and culture.

The poetics and politics of representation, particularly of aboriginal culture, have become major themes in art interpretation and diffusion. As Inuit art becomes increasingly represented on the WWW, its oversimplification could lead to a Disney-fictional culture that leaves little space for real world Inuit.

The Nunavut cultural and ecological tourism industry is expanding and developing. In Canada , Inuit art production is a multimillion dollar cultural industry. Current trends in many cultural institutions policies are strongly influenced by business models of profitability. This could prove detrimental to issues of identity, quality and representation and to an adequate reflection of the complexities of aboriginal knowledge.

I am interested in Inuit art in relation to the social context in which it is produced. There is a discrepancy between the representation of Inuit art and the complex social reality of contemporary Inuit communities. Contemporary Nunavummiut, Nunavikmiut, Inuit of the Western Arctic and many urban Inuit live between two worlds. Nunavummiut seek economic self-determination and are visibly tuned in to new technologies. A rapid perusal of the WWW makes this abundantly clear. However, communities are also plagued with high-unemployment, youth suicide, sexual abuse, addictions and the problems addictions create.

Founded in 1977 by the late Eben Hopson of Barrow, Alaska, the Inuit Circumpolar Conference (ICC) has flourished and grown into a major international non-government organization representing approximately 150,000 Inuit of Alaska, Canada, Greenland, and Chukotka (Russia). The organization holds Consultative Status II at the United Nations. The ICC international office is housed with the Chair and each member country maintains a national office under the political guidance of a president.

The origin of the Inuvialuit Corporate Group, composed of Inuvialuit Regional Corporation (IRC) and its subsidiary corporations, began with the signing of the Inuvialuit Final Agreement on June 5, 1984, between the Government of Canada and the Inuvialuit - Inuit of Canada's Western Arctic .

The Inuit Art Centre, a federal program in the Department of Indian and Northern Affairs Canada (INAC), works in partnership with Inuit artists and Inuit art organizations to enhance the promotion and education of contemporary Canadian Inuit fine art with government departments and agencies, private and public art galleries and museums, and the general public.

The Inuit Business Directory, which received funding from Aboriginal Business Canada for its initial design and development, was officially launched in May 1999 at a symposium that was held, appropriately, on the topic of "doing business with the Inuit -- gaining access to the north."

The Inuit Heritage Trust (IHT) is dedicated to the preservation, enrichment and protection of Inuit cultural heritage and identity embodied in Nunavut 's archaeology sites, ethnographic resources and traditional place names. The Trust's activities are based on the principle of respect for the traditional knowledge and wisdom of our Elders.

The Inuit Heritage Trust receives its mandate from the Nunavut Land Claims Agreement, the largest aboriginal land claim settlement in Canadian history, signed in 1993.

In Nunavut , IHT represents Inuit interests in issues that relate to heritage, archaeology, ethnographic resources, traditional place names and spiritual places.

ITK is the national Inuit organization in Canada , representing four Inuit regions – Nunatsiavut (Labrador), Nunavik (northern Quebec ), Nunavut , and the Inuvialuit Settlement Region in the Northwest Territories . We live in the Canadian Arctic, the largest geographic part of Canada . This site reflects our ancient and modern history . It allows us to communicate to the global community instantly, making the notion of a “Global Village” more real.

Looks after the Economic Opportunities Fund for Communities near National Parks in the Baffin Region.

Makivik is the development corporation mandated to manage the heritage funds of the Inuit of Nunavik provided for in the James Bay and Northern Quebec Agreement (JBNQA). Makivik's role includes the administering and investment of these funds, and in promoting economic growth through the assistance of the creation of businesses run by Inuit in Nunavik. Makivik promotes the preservation of Inuit culture and language as well as the health, welfare, relief of poverty, and education of Inuit in the communities.

The National Inuit Youth Council (NIYC) represents the interests of Inuit youth in Canada . Across the Inuit regions of Inuvialuit, Kitikmeot , Kivalliq, Qikiqtaaluk, Nunavik and Nunatsiavut, there is an estimated 45,000 Inuit living in 53 communities. Inuit youth make up a clear majority of the overall population.

Nunatsiaq News is an English-Inuktitut weekly newspaper that has served the people of [ Nunavut ] and the Nunavik region of Arctic Quebec since 1973.

In anticipation of the creation of the Nunavut territory with its own Department of Education, Nunavut Arctic College was established with passage of the GNWT's Public Colleges Act on January 1, 1995. Nunavut Arctic College and its Nunatta (Iqaluit), Kitikmeot ( Cambridge Bay ) and Kivalliq (Rankin Inlet) campuses and 24 Community Learning Centres continued to grow and to offer programs to prepare residents for the challenges of the new Nunavut territory created on April 1, 1999.

The Nunavut Arts and Crafts Association (NACA) promotes the growth and appreciation of Nunavut artists, and the production of their arts and crafts. Created as a non-profit incorporated society in October 1998, NACA currently works on behalf of Nunavut 's visual artists - carvers, printmakers, ceramic pottery makers, painters, photographers, jewellers, tapestry artists and seamstresses.

Nunavut Tunngavik Inc. (NTI) was formed in 1993 to replace the Tungavik Federation of Nunavut. It is the incorporated organization that represents Inuit under the NLCA. NTI's mission is to foster Inuit economic, social and cultural well-being through the implementation of the Nunavut Land Claims Agreement.

NTI is governed by a 10-member Board of Directors elected by Inuit in Nunavut who are 16 years of age and older. NTI has a staff of 90 people in four offices, including an office in Ottawa .

NTI is responsible for the management of all Inuit-Owned Lands in Nunavut and acts as the advocate of Inuit interests in Nunavut . The organization also provides a number of programs to Inuit, including support to Inuit development corporations and community economic development organizations, an Elders pension plan, a harvester support program, and a bereavement travel program.

Pauktuutit fosters greater awareness of the needs of Inuit women, advocates for equity and social improvements, and encourages their participation in the community, regional and national life of Canada . Pauktuutit leads and supports Canadian Inuit women in policy development and community projects in all areas of interest to them, for the social, cultural, political and economic betterment of the women, their families and communities.

Tungasuvvingat Inuit (TI) aims at empowering and enhancing the lives of Inuit residing in Ontario . Since 1987, TI has been operating in Ottawa as a community-based counselling and resource centre.

TI offers a supportive environment that attempts to duplicate the community spirit and cultural surrounding of the Inuit homelands. Visitors at the drop-in centre can make tea and bannock; catch up on news from home by reading northern newspapers, and socialize with other Inuit.

The University of the Arctic (UArctic) is a cooperative network of universities, colleges, and other organizations committed to higher education and research in the North. Our members share resources, facilities, and expertise to build post-secondary education programs that are relevant and accessible to northern students. Our overall goal is to create a strong, sustainable circumpolar region by empowering northerners and northern communities through education and shared knowledge. We promote education that is circumpolar, interdisciplinary, and diverse in nature, and draw on our combined strengths to address the unique challenges of the region. The University of the Arctic recognizes the integral role of indigenous peoples in northern education, and seeks to engage their perspectives in all of its activities.

The Virtual Museum of Canada celebrates the stories and treasures that have come to define Canada over the centuries. Here you will find innovative multimedia content that educates, inspires and fascinates! This groundbreaking gateway is the result of a strong partnership between Canada 's vast museum community and the Department of Canadian Heritage . Spearheading the enterprise is the Canadian Heritage Information Network , a special operating agency of the Department of Canadian Heritage, that for thirty years has enabled the heritage community to benefit from cutting-edge information technologies. The VMC harnesses the power of the Internet to bring Canada 's rich and diverse heritage into our homes, schools and places of work. This revolutionary medium allows for perspectives and interpretations that are both original and revealing.

FA/VISA 3610 A 3.00

Art Institutions / Art Networks:

Introduction to Museums, Galleries and Visual Art Organizations | Fall 2007

Course Director: Anna Hudson, Assistant Professor, Department of Visual Arts

Prerequisite: 2nd or 3rd year standing, and one previous art history course. Open to non-majors. Recommended in conjunction with Curatorial Studies: Practices of Display (FA/VISA 3611)

Course Description:

Now, at the beginning of the twenty-first century, it seems important to take stock of our systems – philosophical, political, cultural, economic, and social. In Canada, ideologies and perspectives on money, value, and art are shifting into new, and sometimes disturbing, configurations. Recent government cuts to arts funding have been heavy and demoralizing, and they have been escalating at a frightening rate. But there have also been many plucky responses to these cuts: in-your-face, do-it-yourself responses and initiatives that mix and match government funding, commercial sales, scrimping, and fund-raising into a confusing but energetic combination of fiscal strategies. Impatience with both government red tape and corporate benevolence has motivated artists of all ages to open their storefront galleries, to launch their own electronic and other communication networks, and to collapse the historically revered distinction between profitable and non-profit art activity. Money, Value, Art: State Funding, Free Markets, Big Pictures, p.9.

Art Networks/Art Institutions examines the development of the modern museum and art gallery as an Enlightenment enterprise and repository of canonical art and national government identity, to a postmodern site of institutional critique relating to postcolonial, gender, and aesthetic debates.

We will consider the participation of art institutions and organizations in cultural networks engaged in arts education, promotion, and support. Topics will range from public museum and gallery policy, funding, collection building, building design, educational and community outreach, to exhibition programming and permanent collection installation, in addition and in relation to government art agencies and independent organizations including artists' societies and artist-run culture. Using case studies as examples, these topics will be introduced mainly in the context of Canada, but also in international settings.

To investigate the role of art institutions and art networks in Canada and, especially, Toronto

To consider the place of these institutions and networks within interconnecting art worlds, which artists and curators must navigate

Course drop date: November 9th

1. begin with an overarching statement to position what you are about to discuss

3. plan your discussion along a logical and clearly sequenced series of points building to a conclusion

Paul Werner, Museum, Inc: Inside the Global Art World. Chicago: Prickly Paradigm Press, 2005

A 500-600 word review of Werner's text in which you demonstrate a thorough reading/digestion of his critique, considering the following:

- the bibliographic context of this book (see web sources listed for September 19th)

Be sure to provide readers of your review with a sense of what Werner covers in addition to a reflection on why / why not the book may be of value. In order to achieve the latter, be sure to isolate ONE quote from the text which summarizes, in your view, Werner's criticism.

BE SURE TO ATTACH PROOF OF YOUR ATTENDANCE (IN WHATEVER FORM YOU CHOOSE) TO YOUR ASSIGNMENT.

A 300-400 word review of one event/installation/experience that is your focus. Be sure to state, at the top of your page (before the title of your review), who your target audience is and why (in a sentence or two). In other words, state specifically where you would hope to publish your piece. Keep in mind this may be a web publication (www.ccca.ca/), including a blog site (www.blogto.com/arts/), or a newspaper (including a York University paper), or a magazine (eg. Fuse or Canadian Art).

The authority of your voice depends on your ability to convince the reader of your critical ability to describe, analyze, and summarize your chosen event/installation/experience. What's your tag line or “take”?

Attending the 8th annual Toronto International Art Fair is a “must” for followers of the contemporary art scene. Ostensibly, international art fairs promise better business (sales and exposure) than storefront galleries. But what face do these fairs give to the contemporary Canadian art scene? Who's in? What's hot? Who's dealing? And what are the sales trading on?

Prepare a 400-500 word report in which you isolate an artist or a dealer who, in your opinion, makes the strongest statement. Explain why, paying careful attention to explain your views in the context of the art market and the business of culture. Be sure to cite course material (text, kit, or other) AND/OR interview quotes in your report. If you decide to interview a dealer, you must follow the Ethics Review Process.

Six questions will be distributed in class on November 7th. Choose three and prepare your answers to be written up in class on November 28th . Each answer is valued at 10% for a total value of 30%. All answers should be based on the course text, course kit, distributed readings, class discussions, and guest lectures. In your answer, please provide general citations for your sources.

A 1000 word “think piece” on Art Worlds in which you consider one of the 3 goals for the course in relation to selected readings in the course text or course kit or articles distributed in class, guest lectures and class discussions. You must cite these sources in your paper and provide a bibliography. Please use the MLA citation style.

To investigate the role of art institutions and art networks in Canada and, especially, Toronto

To consider the place of these institutions and networks within interconnecting art worlds, which artists and curators must navigate

Attendance and preparation are essential to the success of the course. Assigned readings (as prioritized each week from the Reading List) must be completed in advance of each class as you will be asked to participate effectively in class discussion.

Academic Honesty and Integrity

Access/Disability

York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials.

• Office for Persons with Disabilities: N108 Ross, 416-736-5140, www.yorku.ca/opd

• Learning and Psychiatric Disabilities Programs - Counselling & Development Centre: 130 BSB, 416-736-5297, www.yorku.ca/cdc

• Atkinson students - Atkinson Counselling & Supervision Centre: 114 Atkinson, 416-736- 5225, www.yorku.ca/atkcsc

Ethics Review Process

Religious Observance Accommodation

Student Conduct

Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavour. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class. A statement of the policy and procedures involving disruptive and/or harassing behaviour by students in academic situations is available on the York website: www.yorku.ca/secretariat/legislation/senate/harass.htm

1) Paul Werner, Museum, Inc: Inside the Global Art World. Chicago: Prickly Paradigm Press, 2005.

Call in advance to ensure a kit is available for pick up
3) additional readings will be distributed in class

(This schedule is subject to revision. Readings will be prioritized each week. )

Victoria D. Alexander, “A Mediated View: The Cultural Diamond,”Sociology of the Arts, Exploring Fine and Popular Forms, (Oxford: Blackwell, 2003), pp.60-63.

Gail Anderson, Reinventing the Museum: Historical and Contemporary Perspectives on the Paradigm Shift, (Lanham, MD: Altamira Press, 2004), pp.1-7.

Sally McKay and Andrew J. Patterson, “Introduction,” Money, Value, Art: State Funding, Free Markets, Big Picture, (Toronto: YYZ Books, 2001), pp.9-12.

Nina Montmann, “Art and its Institutions,” in Art and Its Institutions: Current Conflicts, Critique (London: Black Dog Publishing, 2006), pp.8-16.

> Graham Chandler, “So, how did you like the show?” MUSE (Sept/Oct 2007), pp.20-25.

> Jim Drobnick and Jennifer Fisher, “Museopathy,” and “Empathology,” in Museopathy ( Kingston : Agnes Etherington Art Centre, in association with DisplayCult, 2002), pp.13-19, and 62-63.

> Judith Mastai, “There is no such thing as a visitor,” in Museums After Modernism: Strategies of Engagement . eds. Griselda Pollock and Joyce Zemans ( Oxford : Blackwell Publishing Limited, 2007), pp.173-177

> Cheryl Meszaros, “Interpretation in the Reign of ‘Whatever',” MUSE (Jan/Feb 2007), pp.16-21.

Paul Werner, Museum, Inc: Inside the Global Art World. (Chicago: Prickly Paradigm Press, 2005), pp.1-76.

Victoria D. Alexander, “Audience Studies,” Sociology of the Arts, Exploring Fine and Popular Forms, (Oxford: Blackwell, 2003), pp.205-221.

Andrea Fraser, “A Museum is not a business. It is run in a business-like fashion.” in Art and Its Institutions: Current Conflicts, Critique (London: Black Dog Publishing, 2006), pp.86-98.

Jill Henderson, “Better Use Project,” in Money, Value, Art: State Funding, Free Markets, Big Picture, ed. McKay and Patterson, (Toronto: YYZ Books, 2001), pp.110-115.

Charlotte Higgins, “Top museum directors praise free admission,” Guardian 21 June 2007.

Pamela LiCalzi O'Connell, “One Picture, 1,000 Tags,” The New York Times 28 March 2007.

Simon Sheikh, “The Trouble with Institutions, or, Art and Its Publics,” pp.142-149

in Art and Its Institutions: Current Conflicts, Critique (London: Black Dog Publishing, 2006)

Douglas Worts, “On the brink of irrelevance? Art museums in contemporary society,” in Researching Visual Arts Education in Museums and Galleries: An International Reader ed. Les Tickle et al (Dordrecht: Kluwer Publishes, 2003), pp.1-18.

Linda Milrod, Reinstallation Director & Senior Project Manager, Art Gallery of Ontario

Mayor David Miller today announced that last year's enormously successful Scotiabank Nuit Blanche –

the free, city-wide, all-night event celebrating contemporary art – will return on Saturday, September 29, 2007 and become an annual signature event for Toronto.

> Sharon Fernandez, “More than Just an Arts festival: Communities, Resistance, and the Story of Desh Pardesh,” Canadian Journal of Communication vol. 31 (2006), pp.17-34.

> M. Sharon Jeannotte, “Just Showing Up: Social and Cultural Capital in Everyday Life,” in Accounting for Culture: Thinking Through Cultural Citizenship ed. Caroline Andrew et al ( Ottawa : University of Ottawa Press , 2005), pp.124-145.

> Barbara Jenkins, “Toronto's Cultural Renaissance,” Canadian Journal of Communication vol. 30 (2005), pp.169-186.

Georgina Adam, “The changing landscape of the art market,” The Art Newspaper 17 April 2007.

Cliff Eyland, “Mixed Funding, Mixed Markets, Little Pictures,” in Money, Value, Art: State Funding, Free Markets, Big Picture, ed. McKay and Patterson, (Toronto: YYZ Books, 2001), pp.21-28.

Richard Feigen, “It's definitely a bubble, but when it will burst is anybody's guess,” The Art Newspaper 3 July 2007.

Eric Gibson, “The wall between art world realms is going, going…,” The Wall Street Journal 17 August 2007

Simon Grant, “Record art sales mean museum blues,” Guardian Unlimited 21 June 2007

Jane Kallir, “The problem with a collector-driven market,” The Art Newspaper 12 July 2007

Jessica Lack, “Taking stock of art is a risky business,” Guardian Unlimited 15 August 2007.

Robin Pogrebin, “Volatile Markets? Art World Takes Stock,” New York Times 29 August 2007.

Alan Riding, “Alas, poor art market: a multimillion-dollar head case,” New York Times 13 June 2007.

Val Ross, “Hot market draws out little-known paintings,” Globe and Mail 23 May 2007.

Beatrice von Bismarck, “Game Within the Game: Institution, Institutionalisation and Art Education,” in Art and Its Institutions: Current Conflicts, Critique (London: Black Dog Publishing, 2006), pp.124-131.

Allyson Adley, Collections Assistant/Education Co-ordinator will tour us through:

Jan Allen has developed and overseen numerous exhibitions since 1992. Major projects include: Museopathy (2001), Better Worlds (2002), and Machine Life (2004). Allen's curatorial focus is on politically charged art, digital media, and site-responsive projects. She is currently preparing a major survey of the work of Carole Conde and Karl Beveridge. Her independent critical writing has been published in C magazine, Artext, Prefix Photo and Poliester. She is an assistant professor in the Department of Art at Queen's University.

Anthony Davies, Stephan Dillemuth, Jakob Jakobsen, “There is no Alternative: THE FUTURE IS SELF-ORGANIZED – Part 1,” pp.176-178.

Roger Buergel, Anselm Franke, Maria Lind, Nina Montmann, “Curating with Institutional Visions,” pp.28-59.

Marita Muukkonen and Chris Evans, “Friends of the Divided Mind,” pp.150-175.

Nina Montmann, “Opacity: Current Considerations on Art Institutions and the Economy of Desire,” pp.101-113.

in Art and Its Institutions: Current Conflicts, Critique (London: Black Dog Publishing, 2006)

Robin Pacific, “Initiatives in Cultural Democracy,” in Money, Value, Art: State Funding, Free Markets, Big Picture, ed. McKay and Patterson, (Toronto: YYZ Books, 2001), pp.171-194.

Clive Robertson, “Artist-run culture: Locating a history of the present,” and “Collective consciousness as network, social movement as agent,”in Policy Matters: Administration of Art and Culture (Toronto: YYZ Books, 2006), pp.1-25 and pp.26-43.

> Pierre Baudoin, “The Mad Whims of Pierre B.,” in Money, Value, Art: State Funding, Free Markets, Big Picture , ed. McKay and Patterson, ( Toronto : YYZ Books, 2001), pp.145-148

> Barbara Godard, “Resignifying Culture,” in Money, Value, Art: State Funding, Free Markets, Big Picture , ed. McKay and Patterson, ( Toronto : YYZ Books, 2001), pp.75-97.

> Bernie Miller, “Red Goods, White Goods,” in Money, Value, Art: State Funding, Free Markets, Big Picture , ed. McKay and Patterson, ( Toronto : YYZ Books, 2001), pp. 124-143.

> Clive Robertson, “The Crown Corporation: Proximity effects,” and The career imperative: Grants for Artists,” in Policy Matters: Administration of Art and Culture ( Toronto : YYZ Books, 2006), pp.89-97 and pp.142-150.

Jan Allen, “The Realpolitik of the Canada Council Art Bank,” in Money, Value, Art: State Funding, Free Markets, Big Picture, ed. McKay and Patterson, (Toronto: YYZ Books, 2001), pp.50-69.

Victoria Henry, “The Life Story,” and “Afterword: Stepping into the Future,” in Art at Work: The Canada Council Art Bank (Ottawa: Canada Council for the Arts, 2007), pp.39-65 and pp.119-122.

Gerald S. Kenyon, “Corporate Involvement in the Arts and the Reproduction of Power in Canada,” in Art and Business: An International Perspective on Sponsorship. ed. Rosanne Martorella (Westerport, Conncecticut: Praeger, 1996), pp.33-46.

Pierre Landry, “A National Collection,” in Art at Work: The Canada Council Art Bank (Ottawa: Canada Council for the Arts, 2007), pp.67-83.

Josephine Mills, “Reconsidering the Risks of Civic Public Art Funding,” in Money, Value, Art: State Funding, Free Markets, Big Picture, ed. McKay and Patterson, (Toronto: YYZ Books, 2001), pp.159-169.

Victor Rabinovitch, “The Social and Economic Rationales for Domestic Cultural Policies,” in The Culture/Trade Quandry. ed. Dennis Browne (Ottawa: Carleton University, 1998), pp.25-47.

Joyce Zemans, “The Essential Role of National Cultural Institutions,” in Beyond Quebec: Taking Stock of Canada ed. Kenneth McRoberts (Montreal-Kingston: McGill-Queen's University Press, 1995), pp.138-162.

Arjun Appadurai, “Grassroots Globalization and the Research Imagination,” in Public Culture vol.2 (2000), pp.1-19

Carol Becker, “The Artist as Public Intellectual,” in Surpassing the Spectacle: Global Transformations and the Changing Politics of Art (Lanham, MD: Rowman and Littlefield Publishers, 2002), pp.11-20.

Pierre Bordieu, “The Field of Cultural Production, or: The Economic World Reversed,” in The Field of Cultural Production: Essays on Art and Literature (New York: Columbia University Press, 19993), pp.29-73

Pierre Bordieu, “The Intellectual Field,” in Theory in Contemporary Art since 1985, Zoya Kocur and Simon Leung, eds., (Oxford: Blackwell Publishing, 2005), pp.11-18.

David McIntosh, “Memes, Genes, and Monoculture,” in Money, Value, Art: State Funding, Free Markets, Big Picture, ed. McKay and Patterson, (Toronto: YYZ Books, 2001), pp.217-241.

Olu Qguibe, “A Brief Note on Internationalism,” in Global Visions: Towards a New Internationalism in the Visual Arts, ed. Jean Fisher (London: Kala Press, 1994), pp.50-59.

Rinaldo Walcott, “Blue Print for Resistance: Art, Nation, and Citizenship,” in Money, Value, Art: State Funding, Free Markets, Big Picture, ed. McKay and Patterson, (Toronto: YYZ Books, 2001), pp.201-216..

Encouraging the cultures of the world to dialogue with each other; recognizing the equal dignity of all peoples; building a common foundation of binding values while respecting the diversity of beliefs. In short, reflecting on "unity in diversity" sums up the commitment prompting UNESCO and its partners to pave the way to peace and international security.

Pat Feheley, President of the Art Dealers Association of Canada and owner/director of Feheley Fine Arts, Toronto

In November 2007, Canadian artists, collectors, gallery owners, arts writers, publishers, art historians, teachers, critics, curators, corporate leaders, arts service organizations, and public sector funders will gather for an unprecedented milestone in Canadian culture - the Visual Arts Summit. The Visual Arts Summit will offer a first opportunity for the key players in the visual arts sector to interact directly and engage in a high level discussion about every aspect of Canadian art. Through a series of conversations, discussions and arts events, the Visual Arts Summit will start building a consensus and a strategy to broaden the appreciation of Canadian art - both domestically and internationally. The Visual Arts Summit aims to draw out key issues for improving the situation of arts practice in order, to emerge with a shared policy agenda for the visual arts. The Visual Arts Summit is structured to be a significant event in itself as well as a starting point for transformative change.The goals include:

Mondays: 2:30-5:30 (15 minute break 4:00 - 4:15pm; class ends at 5:20pm)
Room: ACW (Accolade West) 008

Course Director: Anna Hudson, Assistant Professor, Department of Visual Arts

Telephone: 416-736-2100 ext. 77427
Email: ahudson@yorku.ca
Office hours: Thursdays 1-4pm GCFA 238, or by appointment
Website: http://yorku.ca/ahudson/

As an investigation of twentieth-century Canadian art in the social and political contexts of race and ethnicity, gender, and national identity, this course will address current challenges for historians of Canadian art. Primary among these is the relationship of landscape to culture. The course text, Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary Art investigates this relationship. In so doing does it also reaffirm a nationalistic landscape paradigm? Is Canadian culture defined by the political borders of the nation state? We will consider possible counterpoints to a landscape-based definition of twentieth-century Canadian art and debate the relevance today of historical Canadian art.

Course Assignments and Evaluation:
Please hand in your assignments double spaced.

Course drop date: March 7th
Lateness Penalty: Assignments received later than the due date will be penalized 5% per day. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., will require supporting documentation (e.g., a doctor’s letter).

TIP: In order to be an effective speaker and writer, aim for the following:
1. begin with an overarching statement to position what you are about to discuss
2. establish a point of view or position set in relation to the existing material/literature
3. plan your discussion along a logical and clearly sequenced series of points building to a conclusion
4. use a clear and engaging tone
5. be sure there are no spelling and grammatical errors

1. Group Project:
A critical account of Canadianness
10% class presentations Monday January 21st
1) 5% Group: organization/cooperation
2) 5% Individual: 5% research, clarity

In 10 groups of 4 students, we will consider how the following institutions, businesses, events, and programs contribute to a collective sense of Canadianness:

Groups will be randomly assigned on January 14th
Each member of the groups will address the following:

1) description (mandate / mission)
2) history and operation
3) contribution of a Canadian icon
4) relevance

Total presentation time for each group should be 10 minutes maximum, leaving time for class discussion.

2. McMichael Canadian Art Collection: A Response
15% due Feb 25th
A 400-500 word consideration of our class visit to the McMichael Canadian Art Collection on January 28th in which you state what insight(s) you gained into the history of twentieth-century Canadian art. Be sure to define the source of this insight(s), ie. an artist / artwork, statement, or context. The authority of your voice depends on your ability to convince the reader of the before-and-after sequence of your visit. Your response should begin or end with a concise and provocative question for Tom Smart, Executive Director of the McMichael Canadian Art Collection, who will be touring us through the gallery.

3. Visual Analysis
20% due March 3rd
The Visual Analysis is a 500 words (max) typed discussion of an artwork in the collection of York University

The visual analysis consists of 5 short sections (remember to keep to 500 words):

Identify the chosen work clearly and provide a brief description of its appearance (as if describing it to a friend who has not seen it). This part of your assignment is the formal analysis, in which you lay out the defining features of compositional design, being the arrangement of colour, line, shape, and texture, in the artist’s chosen media. Your description should not venture into any interpretation of meaning.
Describe the content of the image. What familiar imagery do you see, if any? Does the work incite an emotion? Does the image remind you of something, or jog a memory?
Consider the context of the work’s creation and provide one major historical event or cultural movement that roughly coincides with the production of the artwork. Be sure to cite your sources for this information in footnotes.
Posit how some knowledge of the context in which the artist worked affects your interpretation of the image. Your interpretation of the image should be based on the an appreciation of the combined force of “form” and “content,” together with a critical awareness of the circumstances in which you experienced the artwork (ie. where you saw the work, its relationship to an environment)

v) In one short sentence, state what you consider to be the contemporary relevance of the work. Why is it interesting now?

4. Art Market critique:
15% due March 24th

Last November (2007), A Tom Thomson sketch, Winter Thaw, dated 1917, sold for an unprecedented $1,463,500. Why does Thomson and the Group of Seven continue to dominate the secondary market with such extraordinary prices? Following our meeting with Rob Cowley, Director of Joyner Waddington’s Canadian Fine Art, prepare a 400-500 word analysis explaining this phenomenon citing:
1) at least one other auction sale record of a Tom Thomson of Group of Seven painting
2) a newspaper/magazine/internet report on Canadian art at auction
3) one quote (at least) from the course material (course text, course kit, distributed readings, class discussions, videos, or guest lectures) which distills (in your view) a reason. Be sure to accurately footnote your source(s).

Six questions will be distributed in class on March 10th. Choose three and prepare your answers to be written up in class on April 3rd. Each answer is valued at 10% for a total value of 30%. All answers should be based on the course text, course kit, distributed readings, class discussions, videos, and guest lectures. In your answer, please provide general citations for your sources.

6. Class participation: 10%
Attendance and preparation are essential to the success of the course. Assigned readings (as prioritized each week from the Reading List) must be completed in advance of each class as you will be asked to participate effectively in class discussion. Your class contributions and attendance will be noted.

IMPORTANT COURSE INFORMATION FOR STUDENTS
Please familiarize yourself with the following information

Academic Honesty and Integrity
York students are required to maintain high standards of academic integrity and are subject to the Senate Policy on Academic Honesty (http://www.yorku.ca/secretariat/legislation/senate/acadhone.htm).
There is also an academic integrity website with complete information about academic honesty. Students are expected to review the materials on the Academic Integrity website (http://www.yorku.ca/academicintegrity).

Access/Disability
York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials.
It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations.
Additional information is available at www.yorku.ca/disabilityservices or from disability service providers:
• Office for Persons with Disabilities: N108 Ross, 416-736-5140, www.yorku.ca/opd
• Learning and Psychiatric Disabilities Programs - Counselling & Development Centre: 130 BSB, 416-736-5297, www.yorku.ca/cdc
• Atkinson students - Atkinson Counselling & Supervision Centre: 114 Atkinson, 416-736- 5225, www.yorku.ca/atkcsc
• Glendon students - Glendon Counselling & Career Centre: Glendon Hall 111, 416-487- 6709, www.glendon.yorku.ca/counselling

Ethics Review Process
York students are subject to the York University Policy for the Ethics Review Process for Research Involving Human Participants. In particular, students proposing to undertake research involving human participants (e.g., interviewing the director of a company or government agency, having students complete a questionnaire, etc.) are required to submit an Application for Ethical Approval of Research Involving Human Participants at least one month before you plan to begin the research. If you are in doubt as to whether this requirement applies to you, contact your Course Director immediately

Religious Observance Accommodation
York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus for an in-class test or examination pose such a conflict for you, contact the Course Director within the first three weeks of class. Similarly, should an assignment to be completed in a lab, practicum placement, workshop, etc., scheduled later in the term pose such a conflict, contact the Course director immediately.

Student Conduct
Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavour. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class. A statement of the policy and procedures involving disruptive and/or harassing behaviour by students in academic situations is available on the York website http://www.yorku.ca/secretariat/legislation/senate/harass.htm

Please note that this information is subject to periodic update. For the most current information, please go to the CCAS webpage (see Reports, Initiatives, Documents): http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm. [March 22, 2006]

1) John O’Brian and Peter White eds., Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary Art. Montreal and Kingston: McGill-Queen’s University Press, 2007
~ available at the York University bookstore
2) Course kit
~ available at the Keele Copy Centre (416-665-9675) 4699 Keele Street.
Call in advance to ensure a kit is available for pick up
3) additional readings will be distributed in class

Additional Costs
- bus and admission to McMichael Canadian Art Collection: $20 max (to be confirmed)
- transportation to the Joyner Canadian Fine Art, 111 Bathurst Street, Toronto

Seminar Schedule and Reading List
(This schedule is subject to revision. Readings will be prioritized each week. )

January 14 – Beyond Wildnerness: Bob & Doug’s TWO-FOUR Anniversary
Review of January 7th video and reading

January 21 – A critical account of Canadianness
– revised meeting place at 2:30pm

The Joan and Martin Goldfarb Visual Arts Study Centre, 2nd floor CFA
Guest speaker:
Allyson Adley, Collections Assistant/Education Co-ordinator, Art Gallery of York University

Anna Hudson, “The Art of Inventing Canada;” John Ralston Saul, “Reflections of a Siamese Twin: Canada at the End of the Twentieth Century;” Lloyd Axworthy, “How to Make Love to a Porcupine;” James Laxer, “The Meaning of the Border;” Peter S. Li, “Social Inclusion of Visible Minorities and Newcomers: The Articulation of ‘Race’ and ‘Racial Difference’ in Canadian Society;” Susan Judith Ship, “Jewish, Canadian, or Québécois? Notes on a Diasporic Identity;” Daniel Francis, “Your Majesty’s Realm: The Myth of the Master Race;” Douglas Coupland, “End: Zed.”

February 4 – Tapawingo: the McMichael Canadian Art Collection
– revised meeting time and place:

Please meet at the York Commons entrance to the Centre for Fine Arts at 2:20 sharp.

We will catch the bus at 2:30 for the McMichael Canadian Art Collection in Kleinburg where the Executive Director, Tom Smart, will tour us through the gallery with a special focus on his current exhibition, Miller Brittain: When the Stars Threw Down Their Spears.

The McMichael Canadian Art Collection offers its visitors a unique and truly Canadian experience. From the art within its walls to the surrounding landscape, the McMichael is the perfect gallery for an introduction to Canada’s art, its peoples, their cultures and their history.
Renowned for its devotion to collecting and exhibiting only Canadian art, the McMichael permanent collection consists of almost 6,000 artworks by Tom Thomson, the Group of Seven, their contemporaries, and First Nations, Inuit and other artists who have made a contribution to Canada’s artistic heritage.

The McMichael Canadian Art Collection is the only major public art gallery devoted solely to the collecting and exhibiting of Canadian art. The gallery offers visitors the unique opportunity to enjoy Canadian landscape paintings in the woodland setting that inspired them.
Built of fieldstone and hand-hewn logs, the McMichael houses thirteen exhibition galleries and is situated amid 100 acres of serene conservation land. Floor-to-ceiling windows enable visitors to enjoy marvellous views of the densely wooded Humber River Valley.

Through a network of outdoor paths and hiking trails, visitors can discover outdoor sculptures and wander the McMichael Cemetery where six Group of Seven members and gallery co-founder Robert McMichael have been laid to rest.

The McMichael displays a wide range of exhibitions each year, and offers a stimulating array of programs and events for people of all ages. They include curators’ lectures, tours, music performances, kids’ camps, workshops, school programs and hands-on art activities.

Waddington’s Auction House
111 Bathurst Street (just north of King St West)
Guest speaker:
Rob Cowley, Director, Joyner Waddington’s Canadian Fine Art

Telephone: 416-736-2100 ext. 77427
Email: ahudson@yorku.ca
Office hours: Thursdays 1 - 4pm GCFA 238, or by appointment
Website: http://yorku.ca/ahudson/

The visual arts community acts within an increasingly complex environment, with stagnant or shrinking resources. The growth in public engagement with the visual arts is no reflected in government policies or support. Canadian artists, galleries and museums have been starved for too long. Too many people work in the visual arts without an adequate livelihood or long-term security.

Visual Arts Summit, A Collective Agenda for the Visual Arts
http://www.petitiononline.com/visarts/petition.html

The Visual Arts Summit held in November of 2007 in Ottawa gathered over 500 visual arts professionals including artists, curators, directors, and museum educators. By comparison to the Kingston Conference of the Arts which took place in 1941 at Queen’s University, the Summit included dealers, collectors, and government cultural employees. Government patronage of the visual arts, hard won only in 1957 with the establishment of the Canada Council, seemed compulsory sixty odd years ago – at least until Canada's economic and educational inequities were in some measure relieved to allow a buoyant art market to develop. Today, arguably, we have reached that time only imagined in 1941 when public responsibility for the visual arts is shored up by a buoyant art market. But when the private sector speaks, who listens?

Each year, the Museums & Galleries graduate seminar addresses a key issue in contemporary Canadian museology, as it relates to the visual arts. With the continued erosion of government funding to the cultural sector, and to museums in particular (exemplified by the uncertain future of the Portrait Gallery of Canada and the cancellation of Exhibition Transport Service or ETS), the museum’s ability to remain a cultural centre seems unlikely. The fact that a collective agenda for the visual arts, as addressed at the Summit, has re-emerged at this moment as a responsibility of the museum is perhaps astonishing at this moment of diversity, plurality, and cultural difference. The former Group of Seven painter, A.Y. Jackson’s pronouncement in 1941 on the need “to realize how much we as artists can contribute to common welfare in a world that is being disrupted, regimented, and impoverished,” might be reconsidered in the present as a timely call for cross cultural communication. But at whose expense?

The Summit program included the panel, “The Force of Markets,” which promised to address the 131% increase in consumer spending on art. The discussion did not address the warning of The Art Newspaper reporter, Jane Kallir, that: “collectors have taken charge,” even dominating the boards of museums. “For the past century or so,” noted The Art Newspaper reporter, Jane Kallir in July of 2007, “the art world has been supported by four principal pillars: artists, collectors, dealers and the art-historical establishment.” The issue in this neo-liberal economic climate? “Put bluntly, the danger of a collector-driven art world is that money will trump knowledge.” The Kingston Conference never saw this as a future threat. As the Summit organizers warned, the mix the public and private sectors marks “an unprecedented milestone in Canadian culture.”

The museological phenomenon of the present is “the paradigm shift,” which is a refocusing of the museum from its collection to the visitor. The shift is a quest for relevance. Finding a position of influence for the museum within society is difficult. The public – that is, the collective – is seemingly immeasurable. But cultural institutions are invested with the social responsibility to be relevant. They are described as “knowledge institutions,” “agents of change,” and “community venues.” Museums are thought to be capable of bringing “vitality to urban life” while simultaneously providing “shelter.” Cultural tourism, furthermore, boosts our hopes that museums and galleries function as destination points. A case in point is the definition of “museum” offered by UNESCO: “a museum works for the endogenous development of social communities whose testimonies it conserves while lending a voice to their cultural aspirations.” Museums, broadly put, “are [meant to be] attentive to social and cultural change and help us to present our identity and diversity in an ever-changing world.” (http://portal.unesco.org/culture/en/ev.php-)

To question a collective agenda for the visual arts To debate public interest versus private investment in the museum

Course Assignments and Evaluation:
Please hand in your assignments double spaced.Course drop date: March 7th
Lateness Penalty: Assignments received later than the due date will be penalized 5% per day. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., will require supporting documentation (e.g., a doctor’s letter). 1. The Strategic Plan: Gail Dexter Lord, President, Lord Cultural Resources
10% due January 25th
Following Gail Lord’s meeting with us on January 18th, write a summary of her position on effective museum management. Make sure you address her discussion of strategic planning as discussed with us and as written (with Kate Markert). What is a strategic plan, why is it important, when is it successful, and how can Lord Cultural Resources help? Complete your summary with 1 (one) question (as simply stated as possible) you would like to ask (or in fact did ask) Lord. Provide a one paragraph rationale for your question explaining why it pertains to the course goals. 500-600words. 2. Question and rationale: Transformation AGO
10% due February 22nd In preparation for our meeting with Matthew Teitelbaum, Michael and Sonja Koerner Director, and CEO of the Art Gallery of Ontario, prepare one clear question you would like to ask with regard to the current Transformation project. Consider this your one chance to “get the scoop” on the progress of the project. Defend your question with one clear statement or quote which you feel supports your curiosity. Provide a rationale to contextualize your position. Total word count: 500-600words 3. Attendance as a measure of success: The McMichael Canadian Art Collection
15% due February 29th
“Visit regularly and often to enjoy the benefits of your membership as we broaden our offerings and reach in the coming year to live up to our motto: 100% Canadian”In the fall of 2007, the McMichael hosted the Robert Bateman exhibition. Attendance for the exhibition exceeded 48,000 visitors, and was marked by Sarah Milroy’s stinging review in the October 4th edition of the Globe & Mail, prompting many comments, (http://www.theglobeandmail.com). The CBC National also ran a story investigating on the show (http://www.cbc.ca/national/blog/).

Following our meeting with Tom Smart, consider why the McMichael appears to draw so many visitors. Be sure not only to cite information on the McMichael (noted during your visit and including the website), but current museological debate on audience studies and attendance as a measure of success. 800-1000 words

A.Y. Jackson, Opening Session, June 12, 1941, Conference of Canadian Artists, ed. André Biéler and Elizabeth Harrison; reprinted in The Kingston Conference Proceedings (Kingston: Agnes Etherington Art Centre, 1991), p.18.

Jane Kallir, “The problem with a collector-driven market,” The Art Newspaper 12 July 2007.

4. In-class debate: A collective agenda for the visual arts: Public interest versus private investment in the museum

40%
Based on class readings, guest speakers, discussion, and independent research, each student will be assigned to a team to debate the relative public and private interest in the necessary creation of “A collective agenda for the visual arts.” We will follow formal debating rules and teams will be judged for their cohesiveness and organization. Individual students will be assessed for their preparedness, polish and persuasiveness. Further information to follow...

A collective agenda for the visual arts – in whose interest does the museum operate

6. Class participation
10% Assigned readings must be completed in preparation for each class as you will be asked to orally summarize essays and arguments for your colleagues, and to participate effectively in class discussion and to support your colleagues.

Lateness Penalty: Assignments received later than the due date will be penalized 5% per day. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., may be entertained by the Course Instructor but will require supporting documentation (e.g., a doctor’s letter).

IMPORTANT COURSE INFORMATION FOR STUDENTS
Please familiarize yourself with the following information

1) Gail Anderson,, ed. Reinventing the Museum: Historical and Contemporary Perspectives on the Paradigm Shift. Lanham, MD: Altamira Press, 2004.
~ available at the York University bookstore
2) Course kit
~ available at the Keele Copy Centre (416-665-9675) 4699 Keele Street.
Call in advance to ensure a kit is available for pick up
3) additional readings will be distributed in class

Additional Costs
- bus and admission to McMichael Canadian Art Collection: (to be confirmed)
- transportation to the Art Gallery of Ontario and Lord Cultural Resources

Seminar Schedule and Reading List
(This schedule is subject to revision. Readings will be prioritized each week. )

January 18 – The Strategic Plan
– revised meeting time and place:11 am to 12:30pm
Lord Cultural Resources
321 Davenport Road
http://www.lord.ca/

Textbook:
Part I – The Role of the Museum: The Challenge to Remain Relevant

February 1 – The Visitor
Textbook:
Part II – The Role of the Public: The Need to Understand the Visitor’s Perspective

February 8 – Audience as a measure of success: The Michael Canadian Art Collection
– revised meeting time and place: 12:30-1:30pm
McMichael Canadian Art Collection
http://www.mcmichael.com/

Guest speaker:
Tom Smart, Executive Director, McMichael Canadian Art Collection

Culture Jamming in the Museum
Panel discussion
Andrew Hunter and The Movement Movement (Jessica Rose and Jenn Goodwin)

February 22 – The Challenge of Transformation AGO
– revised meeting time and place: 12:30-1:30pm
Art Gallery of Ontario
317 Dundas Street West
http://www.ago.net/navigation/flash/frameset.cfm (Transformation AGO)

Guest speaker:
Matthew Teitelbaum, Michael and Sonja Koerner Director, and CEO, AGO
317 Dundas Street West
- meet at the McCaul Street entrance

http://www.businessforarts.org/
Developing Effective Arts Boards
Business Support of the Arts

Textbook:
Part III: The Role of Public Service: The evolution of exhibitions and programs

Textbook:
Part IV: The Role of the Object: The Obligation of Stewardship and Cultural Responsibility

March 14 – Debate preparation
A collective agenda for the visual arts:
Public interest versus private investment in the museum

March 21 – Good Friday (no class)

March 28 – Debate > A collective agenda for the visual arts:
Public interest versus private investment in the museum

April 4 – (make up class)
A collective agenda for the visual arts – in whose interest does the museum operate?
Brainstorming session

American Association of Museums
www.aam-us.org/
The mission of this not-for-profit Association is to represent the museum community, address its needs, and enhance its ability to serve the public.

Art Dealers Association of Canada
http://www.ad-ac.ca/main.asp
The Art Dealers Association of Canada Inc (ADAC) is a not-for-profit organization that was formed in 1966 to support a wide range of activities, such as promoting Canadian art, and providing better documentation and educational opportunities to the public on the visual arts. ADAC is a national organization. Our association has over 90 members and is the largest representation of major private commercial galleries in Canada. Our dealers represent the country's leading artists.

Art Gallery of Ontario
www.ago.net/transformation/home.cfm
Transformation AGO is creating the imaginative centre of the city
A place where the power of great art is lived and celebrated
A place that will become an international cultural landmark

Association of Art Museum Directors
www.aamd.org/
The purpose of the Association of Art Museum Directors is to support its members in increasing the contribution of art museums to society. The AAMD accomplishes this mission by establishing and maintaining the highest standards of professional practice; serving as forum for the exchange of information and ideas; acting as an advocate for its member art museums; and being a leader in shaping public discourse about the arts community and the role of art in society.

Canadian Art Museum Directors' Organization
http://www.camdo.ca/index.html/
Art is a critical thread in the fabric of Canadians’ lives. Art interprets, defines, and critiques the world around us. Artists shape new ways of thinking—new ways of seeing. As directors of art museums and art galleries, CAMDO members have a firsthand recognition of the vital role that artists play as societal architects, shaping the visual understanding of our environment, human condition, and history.
The Canadian Art Museums Director’s Organization (CAMDO) is an association of directors of not-for-profit Canadian art museums and galleries. The association’s purpose is to provide the membership with a forum for the exchange of information, to provide policy makers within federal government agencies and departments with informed and collegial communications around issues pertinent to the membership, and to maintain standards of ethics and practice for the membership.

Canadian Conference of the Arts
http://www.ccarts.ca/en/
The CCA is the national forum for the arts and cultural community in Canada. Artists are at the heart of the CCA. We understand and respect their fundamental role in building and maintaining a creative, dynamic, and civil society. Since 1945, we have been working to ensure that artists can contribute freely and fully to Canadian society. For more than half a century, we have been a repository for Canadian cultural history and collective memory. The CCA is leader, advocating on behalf of artists in Canada to defend their rights, articulate their needs, and celebrate their accomplishments. The CCA is an authority, providing research, analysis and consultation on public policy in arts and culture, in Canada and around the world. The CCA is a catalyst, fostering informed debate and collective action within the arts and cultural community and the creative industries in Canada. The year 2005 will mark the CCA's 60th anniversary — six decades of working to ensure that artists are valued for the essential role they play, and the fundamental contribution they make to a creative, dynamic, and civil society.

Canadian Conservation Institute
http://www.cci-icc.gc.ca/main_e.aspx
From leading-edge research to innovative approaches, the Canadian Conservation Institute (CCI) is recognized as a pioneer in the conservation of cultural heritage.CCI was created in 1972 to promote the proper care and preservation of Canada's cultural heritage and to advance the practice, science, and technology of conservation. The Institute has worked closely with hundreds of museums, art galleries, academic institutions, and other heritage organizations to help them better preserve their collections. As a Special Operating Agency of the Department of Canadian Heritage, CCI has widened its scope of activities and now markets its services and products around the world.

Canadian Council for the Arts
http://www.canadacouncil.ca/visualarts/
The Canada Council for the Arts has a new program that changes the way grants are awarded to visual artists, while at the same time continuing its tradition of support for independent artistic research and creation. The Canada Council for the Arts, reporting to Parliament through the Minister of Canadian Heritage, is a national arm's-length agency which fosters the development of the arts in Canada through grants, services and awards to professional Canadian artists and arts organizations, as well as administering scholarly awards, and having under its aegis the Public Lending Right Commission and the Canadian Commission for UNESCO.

Canadian Museums Association
www.museums.ca/
The Canadian Museums Association is the national organization for the advancement of the Canadian museum community. We unite, represent and serve museums and museum workers across Canada. We work passionately for the recognition, growth and stability of our sector. The Canadian Museum Association was established by a small group of people in Quebec City in 1947. Today, it has nearly 2,000 members. Our members are non-profit museums, art galleries, science centres, aquaria, archives, sports halls of fame, artist-run centres, zoos and historic sites across Canada. They range from large metropolitan galleries to small community museums. All are dedicated to preserving and presenting our cultural heritage to the public. Our members are also the people who work in and care about our museum. They include professionals, volunteers, students, trustees and interested friends. Our membership also includes foreign museum professionals as well as a growing list of corporations that support museums and the CMA.

College Art Association
http://www.collegeart.org/
Founded in 1911, the College Art Association promotes: excellence in scholarship and teaching in the history and criticism of the visual arts and in creativity and technical skill in the teaching and practices of art; facilitates the exchange of ideas and information among those interested in art and history of art; advocates comprehensive and inclusive education in the visual arts; speaks for the membership on issues affecting the visual arts and humanities; provides publication of scholarship, criticism, and artists' writings; fosters career development and professional advancement; identifies and develops sources of funding for the practice of art and for scholarship in the arts and humanities; honors accomplishments of artists, art historians, and critics; and articulates and affirms the highest ethical standards in the conduct of the profession.

Euromuse
http://www.euromuse.net/
Network of European Art and Cultural History Museums
Euromuse.net is a public access portal giving accurate information on major exhibitions in European museums. It provides all vital information in one place, updated by the host museum; with euromuse.net you will never again be bogged down in proliferating individual websites and search engines. Each museum's information is available in the native language and in English. Updating of euromuse.net is continuous.

H-Museum
http://www.h-net.org/~museum/
H-MUSEUM is a moderated mailing list in the H-Net (Humanities and Social Sciences Online) for Museums and Museum Studies. Currently H-MUSEUM has more than 5000 subscribers from over 94 different countries. The list addresses themes and questions primarily relating to museological topics. Museums are intended to be interdisciplinary, so that archaeological, historical, cultural and artistic information can be posted.

Hill Strategies Research Inc.
http://www.hillstrategies.com/
Hill Strategies Research is a Canadian company that aims to provide top-quality, highly-relevant and insightful research for the arts. A passion for the arts inspires our work. Strong writing, editing and project management skills ensure that research findings are presented in a clear and concise manner that is accessible to the arts community, to government stakeholders, and others.

International Council of Museums
www.chin.gc.ca/Resources/Icom/
The International Council of Museums (ICOM) is an international organisation of museums and museum professionals which is committed to the conservation, continuation and communication to society of the world's natural and cultural heritage, present and future, tangible and intangible. Created in 1946, ICOM is a non-governmental organisation maintaining formal relations with UNESCO and having a consultative status with the United Nations' Economic and Social Council. As a non-profit organisation, ICOM is financed primarily by membership fees and supported by various governmental and other bodies. It carries out part of UNESCO's programme for museums. Based in Paris (France), the ICOM Headquarters houses both the ICOM Secretariat and the UNESCO-ICOM Museum Information Centre.

Lord Cultural Resources
http://www.lord.ca/
FROM CULTURAL RESOURCES TO CULTURAL CAPITAL
Founded in 1981 as an innovative resource for the culture sector, Lord Cultural Resources is the professional global practice dedicated to the creation of cultural capital – the tangible value created by advancing cultural expression and activities to the highest levels of professionalism. We have undertaken more than 1600 assignments in 41 countries on six continents. We have created a network of fully functional offices in the United States, Europe and Asia. The collective reach and impact of this network on behalf of the world cultural community is a testament to the value of our vision and the quality of our people. We understand that culture is a cherished resource… a lens through which we interpret the world. We partner with a remarkably wide range of community, public and private organizations to help them realize and sustain their unique cultural identity and expression.

McMichael Canadian Art Collection
http://www.mcmichael.com/index.cfm
Canadian art and stories – through a distinctly Canadian art experience.

Museum and Society
http://www.le.ac.uk/ms/museumsociety.html
museum and society was launched in March 2003 as an independent peer reviewed journal which brings together new writing by academics and museum professionals on the subject of museums. It is both international in scope and at the cutting edge of empirical and theoretical research on museums. museum and society is edited by Gordon Fyfe (Keele University), Kevin Hetherington (Open University) and Susan Pearce (University of Leicester). museum and society is an interdisciplinary journal with a wide ranging interest in all issues associated with museums and other places of public culture concerned with collecting, exhibiting and display. The journal is a successor to the series New Research in Museum Studies which was published by Athlone Press from 1990 to 1997. museum and society appears three times a year (March, July, November) and is open access and free to all individuals and institutions. However, we request that users who wish to take advantage of the free access facility register with us first. Those wishing to receive e-mail updates on forthcoming volumes, events and associated publications may also wish to register.

Museum Education Monitor
http://www.mccastle.com/Public/MEM.aspx
Museum Education Monitor (MEM) tracks and records research and resources in museum education worldwide. The aim of MEM is to help create a 'road map' to new and current learning in museum education. Its goal is to enhance the development of theory and practice in the field by both academics and museum workers. MEM evolves in response to the expressed needs and interests of its subscribers.

National Museum of the American Indian
www.nmai.si.edu
The National Museum of the American Indian shall recognize and affirm to Native communities and the non-Native public the historical and contemporary culture and cultural achievements of the Natives of the Western Hemisphere by advancing-in consultation, collaboration, and cooperation with Natives-knowledge and understanding of Native cultures, including art, history, and language, and by recognizing the museum's special responsibility, through innovative public programming, research and collections, to protect, support, and enhance the development, maintenance, and perpetuation of Native culture and community.

Ontario Association of Art Galleries
http://www.oaag.org
OAAG’s membership consists of over 200 art museums, public art galleries, artist-run centres, visual arts organizations, professional colleagues, and friends across Ontario.
1. To encourage close cooperation between the Ontario Association of Art Galleries and the Province of Ontario Council for the Arts [now the Ontario Arts Council] and other similar agencies.
2. To assist developing visual art centres in the Province.
3. To promote high standards of excellence and uniform methods in the care and presentation of works of art.
4. To serve as an advisory body in matters of professional interest.

Ontario Museum Association
http://www.museumsontario.com/
“The Ontario Museum Association fosters and promotes our museum community.”
Vision
The Ontario Museum Association believes that museums are an integral and essential component of the cultural, social and economic fabric of the Province of Ontario where all peoples have access to knowledge and appreciation of, as well as participation in, heritage. Museums enrich the lives of individuals, creating better communities in which to live and work. The Association's role is to enhance the mission of museums as significant cultural resources in the service of Ontario society and its development.

The Universities Art Association of Canada
http://www.uaac-aauc.com/

The Universities Art Association of Canada provides a national voice for its membership, composed of university and college faculty, independent scholars and other art professionals in the fields of art, art history and visual culture. From the beginning, the association was concerned with providing a presence for university art and art history faculties within the network of academic disciplines in Canada; establishing a forum for exchange of ideas and scholarly work in the fields represented; and enabling a context for expression on public policy affecting these disciplines.

Open Museum Journal
http://amol.org.au/omj/journal_index.asp
Australia's only peer-reviewed online museum journal | ISSN 1443-5144

Virtual Museum of Canada
http://www.virtualmuseum.ca/English/index_noflash.html
The Virtual Museum of Canada celebrates the stories and treasures that have come to define Canada over the centuries. Here you will find innovative multimedia content that educates, inspires and fascinates! This groundbreaking gateway is the result of a strong partnership between Canada's vast museum community and the Department of Canadian Heritage. Spearheading the enterprise is the Canadian Heritage Information Network, a special operating agency of the Department of Canadian Heritage, that for thirty years has enabled the heritage community to benefit from cutting-edge information technologies. The VMC harnesses the power of the Internet to bring Canada's rich and diverse heritage into our homes, schools and places of work. This revolutionary medium allows for perspectives and interpretations that are both original and revealing.

Courses 2007-2008

FA/VISA 4800 I 3.00 / ARTH 5990

Art of the Arctic | Fall 2007

Additional Resources

FA/VISA 3610 A 3.00

Art Institutions / Art Networks:

Introduction to Museums, Galleries and Visual Art Organizations | Fall 2007

Course Description:

Course drop date: November 9th

Lateness Penalty: Assignments received later than the due date will be penalized 5% per day. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., will require supporting documentation (e.g., a doctor's letter).

Academic Honesty and Integrity

Access/Disability

Ethics Review Process

Religious Observance Accommodation

Student Conduct