2003 - Vancouver Art Gallery

Transcription

Annual Report 2003
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Message from the Chair
Message from the Director
2003 in Review
Exhibitions
Acquisitions
Publications
Public Programs
Recognition
Financial Statements
Board of Trustees
Staff Directory
Previous page: Shirin Neshat, All Demons Flee, 1995
silver gelatin print
Gift of Alison and Alan Schwartz
Photo by Tim Bonham
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“An edgy, international forum for historical
and contemporary collections.”
The National Post
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Message from
the Chair
It is very rewarding to report that the Vancouver Art Gallery
achieved a balanced budget for the eighteenth consecutive year
and continues to operate as a fiscally secure art institution.
Special gratitude is due to all our supporters throughout the
community who believe in the Gallery and its mission, and to
the outstanding generosity of special individuals who became
part of the Leadership Circle.
Our critically acclaimed exhibitions, wide array of public
programs, special events, and successful fundraising activities
have created a great deal of enthusiasm for the Gallery. Under
the capable direction and strong leadership of our Director,
Kathleen Bartels, the Gallery continues to expand its reputation
as an important visual arts institution both internationally and
within our own community.
At the start of the year, the Board of Trustees and staff
reopened discussions regarding the Vancouver Art Gallery’s
projected physical space and facilities requirements over the
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next few decades. Grant applications were sent to various
government agencies and positive responses were received
from the City of Vancouver and Cultural Spaces Canada, a
program of Canadian Heritage.
The Gallery then advertised nationally for architectural firms to
provide expressions of interest and received twenty-three
responses from national and international organizations – a
strong testimony not only to Vancouver’s international reputation
in the art world but also to the city’s rapidly rising profile as a
leader in urban planning and architecture.
The Master Planning Committee consisting of Micheal Audain,
businessman and art partron; Michael Geller and Kevin Leslie,
Board of Trustees; Ken Lum, Vancouver artist; Nicholas
Oldsberg, Director of the Canadian Centre for Architecture;
Elizabeth Smith, Chief Curator of the Museum of Contemporary
Art, Chicago; Kathleen Bartels, Gallery Director; and Bruce
Grenville, Senior Curator; and myself, short-listed four architectural
Xu Bing, Landscript, 2002, ink on paper, Collection of the Artist
firms and will announce the successful applicant in spring 2004.
The master plan provided by that firm will be the foundation from
which the Vancouver Art Gallery will address a number of needs
in its existing facility.
As well, the Vancouver Art Gallery Foundation continues to
focus on building an endowment fund to support the long-term
objectives and operations of the Gallery. Michael Audain, Chair
of the Foundation, furthered his commitment to the Gallery by
establishing the Audain Curator of British Columbia Art. We are
most grateful to him for this significant contribution. We also
received a major gift from the Estate of Doris Shadbolt to establish the Jack and Doris Shadbolt Publication Endowment. Doris,
who was a dear friend of the Gallery, passed away in December.
Finally, I am pleased to report that we completed an extensive
and comprehensive strategic plan (2003-2006) that addressed
at great length our key priorities for the institution. As a result,
the Gallery qualified for the final grant installment from the
Vancouver Arts Stabilization Team (VAST), providing the Gallery
with a working capital fund.
As always, I express my profound admiration for and gratitude
to the donors, sponsors, volunteers, and Gallery staff who
contribute to the ongoing success of the Vancouver Art Gallery.
It is a great pride and pleasure to be associated with all of you,
and I salute your efforts on behalf of the entire Board of Trustees.
I also extend my personal thanks to my colleagues on the Board.
As the Gallery embarks on a new phase of its development,
your energy and enthusiasm will assist in ensuring our continued
success. It is a privilege to work with you all.
George Killy
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Message from
the Director
The year was remarkable for the richness and diversity of our
exhibitions, which once again won critical acclaim and demonstrated our dedication to curatorial excellence in keeping with the
Vancouver Art Gallery’s core artistic values. It is with great pleasure
that I share with you some of the highlights.
2003 started with a major retrospective of the work of the British
Columbia landscape artist E.J. Hughes and a survey exhibition
of the leading Canadian artist Liz Magor, featuring a remarkable
collection of her sculpture, photography and installation work.
In summer, we presented Drawing the World: Masters to Hipsters,
an exhibition that brought to Vancouver over 400 works from
diverse cultural traditions and, for the first time, forty major
international contemporary artists as part of the critically acclaimed
For the Record: Drawing Contemporary Life. In the fall, we
opened two exhibitions that addressed notions of diaspora and
intersection, and concepts of home and nation: Home and
Away: Crossing Cultures on the Pacific Rim showcased the work
of six widely recognized contemporary artists, and Chagall:
Storyteller, was the first exhibition of his work in Vancouver.
The exhibition Robert Smithson in Vancouver: A Fragment of a
Greater Fragmentation focused on the activities of this influential
American artist during his visits to Vancouver in 1969-70, The Big
Picture: Recent Acquisition from the Collection of Alison & Alan
Schwartz, an exhibition of 75 exceptional photo-conceptual
works by twenty of the world’s leading contemporary artists,
drew broad and appreciative audiences, as did NEXT: LWPAC by
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the Vancouver architect Oliver Lang, the second project presented
in NEXT: a series on emerging artists from the Pacific Rim.
The growing response to our public programs which include
lectures, symposia, the Philosophers’ Café series and programs
for families, schools and teachers, has been most rewarding
and encourages us in our efforts to ensure that a variety of
informative and inspiring experiences are always there for our
Gallery visitors.
Deserving of special mention are two new initiatives that were
undertaken by the Gallery to extend its reach to new audiences.
The first was the inaugural Collectors Circle trip to Los Angeles,
in which twelve donors were treated to rare experiences such
as the opportunity to view private art collections, a behind-thescenes tour of the new Walt Disney Concert Hall by renowned
architect Frank Gehry, architecture by John Lautner, R.M. Schindler
and Richard Neutra, and visits to the studios of James Welling,
Russell Crotty and other artists.
The second was Extraordinary, a contemporary event, a unique
fundraising gala evening and auction that featured more than 100
design items from local, national and international designers and
raised $100,000 in support of the Gallery’s exhibitions and programs.
Sadly, however, in 2003, the Vancouver Art Gallery lost two dear
and valuable friends –J. Ron Longstaffe and Doris Shadbolt –
who will be deeply missed. An avid supporter of the Gallery and
a passionate art collector, Ron Longstaffe donated more than
800 works works including those of major Canadian and
Canadian and international contemporary artists – a collection
that has been valued at over $5 million. He also served as
President of the Board of Trustees from 1966 to 1968. Doris
Shadbolt was a noted curator, author, educator and philanthropist.
During her twenty-five years at the Gallery, she introduced First
Nations programming with The Arts of the Raven exhibition, as
well as international contemporary art through groundbreaking
exhibitions such as Los Angeles 6 (1968) and New York 13 (1969).
I extend my gratitude to the Chair of the Board, George Killy
and to the Trustees for their dedication and commitment to the
Gallery. To our donors, members, sponsors, corporations and
government agencies for their contribution which have been
integral to the Gallery’s operations. I also wish to recognize the
volunteers who give to the Gallery thousands of hours of their
time, and the Gallery staff for their hard work and unwavering
dedication.
Finally, I would like to express my deepest admiration and
respect for the exceptional artists whose work fills our Gallery,
our world and our imagination. Their boundless creativity
inspires us all to reach higher, think deeper, and go further.
Our achievements in 2003 form a critical base for the strong
future of the Vancouver Art Gallery and I look forward to the
upcoming years with great optimism.
Kathleen S. Bartels
Dan Graham, Row of Tract Houses, Jersey City, NJ, 1966;
People in Highway Restaurant, Jersey City, NJ 1966, 1966/69
2 chromogenic prints, Gifts of Alison and Alan Schwartz
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2003 in Review
The Vancouver Art Gallery presented an outstanding series of
exhibitions in 2003 that drew a wide and engaged audience.
The major E.J. Hughes survey presented a thorough reading of
the work and processes of this seminal BC painter. Drawing the
World, a suite of dynamic drawing exhibitions, explored drawing
as a representational tool to reflect upon worlds as diverse as
Italy and India in the seventeenth and eighteenth centuries, central
British Columbia in the 1930s, Baker Lake from the 1970s to
the present, and our contemporary world. The insightful fall
exhibition, Home and Away: Crossing Cultures on the Pacific
Rim, brought together the work of six international artists to
speak to shifting notions of place and identity.
The year began with a long-term installation of Emily Carr’s
work that brings new insights to her relationship to art, place
and culture. The Gallery also exhibited a stellar new acquisition
of photographs that has made our collection of contemporary
photography one of the most important in North America.
We mounted the second project in the NEXT series with an
installation by the local architect Oliver Lang that presented an
alternative possibility for exhibition spaces. We also presented
an important exhibition of the work of Robert Smithson, which
examined his time in Vancouver and the various projects and
proposals he developed here. To complement that exhibition,
Temporal Surfaces offered work from the permanent collection
that finds common ground with Smithson’s ideas and practice.
Finally, Chagall: Storyteller presented this seminal modernist
artist in Vancouver for the first time, revealing his ties to
surrealism through work that compellingly portrays aspects of
the Jewish experience.
In 2003 the Vancouver Art Gallery added 191 works of art to its
permanent collection. Of these, 75 were a single donation from
the private collection of the late J. Ron Longstaffe and his wife
Jacqueline Longstaffe—a gift that reinforces several of the
Gallery’s key collecting areas, including major works by
Québecois artists, American and British graphics, and works by
major British Columbia artists. The year 2003 also marked the
donation of 37 remarkable photo-based artworks from the
collection of Alison and Alan Schwartz, featuring work by
renowned international artists such as Rineke Dijkstra, Andreas
Gursky and Cindy Sherman that add a global perspective to our
growing photography collection. The Gallery also acquired some
major works by BC artists, including the donation of Messenger
by the internationally acclaimed artist Liz Magor and the
monumentally scaled Cetology by Brian Jungen, which was
supported by an Acquisition Assistance grant from the Canada
Council. Many other outstanding historical and contemporary
works were donated, and we are very grateful to all of our
donors for their generosity in supporting the Gallery’s ongoing
efforts to build a strong collection.
Brian Jungen, Installation view of Cetology, 2002
Purchased with the support of the Canada Council for the Arts Acquisition Assistance program
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Exhibitions
Temporary Exhibitions
TOM THOMSON
October 5, 2002 to January 5, 2003
Organized and circulated by the National Gallery of Canada
and the Art Gallery of Ontario
Curated by Charles Hill, Curator of Canadian Art, National Gallery of
Canada; Dennis Reid, Chief Curator, Art Gallery of Ontario;
Andrew Hunter, Independent Curator
Tom Thomson (1877–1917) was a key figure in the history of
Canadian painting. He was central to the development of a
nationalist position in Canadian art and had a crucial influence
on the artists who subsequently formed the Group of Seven.
His contribution to early modernism in Canada, together with
the timing and circumstances of his death in 1917, have
contributed to his mythical status in the Canadian art world.
The exhibition addressed the importance of Thomson’s work in
the development of painting that was seen to be specifically
Canadian, and the aura that has surrounded his persona. This
comprehensive exhibition was made up of approximately 160
works, including all of Thomson’s major canvases and covering
all periods of his career.
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Won Ju Lim, Installation view of Elysian Field North, 2002
plexiglas, foamcore and still image projections
Collection of the Vancouver Art Gallery
Liz Magor, Installation view of Messenger, 1996/2002
wood, plaster, textile and found objects
Gift of the Artist
Photo by Trevor Mills
NEXT: WON JU LIM
LIZ MAGOR
October 5, 2002 to March 16, 2003
Organized by the Vancouver Art Gallery
Curated by Daina Augaitis, Chief Curator / Associate Director,
Vancouver Art Gallery
November 16, 2002 to February 23, 2003
Organized and circulated by the Vancouver Art Gallery
in partnership with The Power Plant
Curated by Grant Arnold, Curator, Vancouver Art Gallery;
Philip Monk, Curator, The Power Plant
The Korean American artist Won Ju Lim inaugurated the NEXT
series, which focuses on work by emerging artists from the
Pacific Rim that has not been seen previously in Vancouver. She
typically creates sculptures that combine architectural forms and
slide projections of urban locations, which reflect onto the Gallery
walls in a spectacular effect. Elysian Field North, commissioned
by the Vancouver Art Gallery, is a montage that brings together
notions of the futuristic cityscape and industrial ruin. The work’s
title is a play on the Elysium, which in Roman mythology is part
of the underworld, where all is safe and beautiful.
This survey exhibition included sculptures, photographs and
installations by the widely recognized Vancouver artist Liz Magor.
Over the past twenty years, Magor has established an international
reputation for works that have a rigourous conceptual approach
as well as carefully considered formal qualities. Drawing upon
processes of mimicry and simulation, her work investigates the
relationship between authentic and mediated experience in the
contemporary world. The exhibition examined the development of
Magor’s thematic concerns, particularly the widely shared need
to secure a place in the world through the act of accumulation
and pursuit of an often unattainable ideal of authenticity.
Supported by the Vancouver Foundation.
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E.J. Hughes, Coastal Boats Near Sidney, B.C., 1948, oil on canvas
Collection of College of Physicians and Surgeons of British Columbia
Installation view of LWPAC work for the NEXT series
E.J. HUGHES
NEXT: LWPAC
January 30 to June 8, 2003
Organized and circulated by the Vancouver Art Gallery
Curated by Ian Thom, Senior Curator, Vancouver Art Gallery
April 12 to September 28, 2003
Curated by Bruce Grenville, Senior Curator, Vancouver Art Gallery
This comprehensive exhibition surveyed Hughes’ work from the
early 1930s to the present, with particular emphasis on the
height of production in the 1950s and ’60s. As a major painter
of the BC landscape, Hughes looks at the province with an
appreciation for the interaction of humans and the environment.
Unlike other artists of his generation working in this region,
Hughes (born in 1913) has not entered into debates about
modern art. Instead, he takes a singular approach to the
representation of landscape that is highly personal, while engaging
a realist painting tradition. The exhibition examined Hughes’
process in depth, provided examples documenting
the progress of a work from start to finish, and included over
120 paintings, drawings, prints and watercolours.
The Vancouver Art Gallery invited the Vancouver architect Oliver
Lang to design and produce a new gallery space for NEXT.
Lang, a partner in LWPAC (Lang Wilson Practice in Architecture
Culture) and a professor in the School of Architecture at the
University of British Columbia, has worked widely in the field of
experimental design and produced projects in Chile, Germany
and the United States. The NEXT space is a laboratory for new
art and ideas in a wide variety of media. LWPAC’s project not
only generated a new exhibition space but also produced an
exhibition that documented the process of its production.
Presenting Sponsors:
Weyerhaeuser Canada Ltd.
Industrial Alliance Pacific
Media Sponsors:
The Vancouver Sun
CBC Radio One 690
CBC Radio Two 105.7
CBC Television
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“...my favourite contemporary show this year was
in Vancouver: Daina Augaitis' For The Record:
Drawing Contemporary Life... an amazingly well
researched and vigorously curated exhibition
of drawings from around the world.”
Sarah Milroy, The Globe and Mail
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DRAWING THE WORLD
FOR THE RECORD: DRAWING CONTEMPORARY LIFE
Summer 2003
June 28 to September 28, 2003
Curated by Daina Augaitis, Chief Curator / Associate Director,
The Vancouver Art Gallery presented a suite of exceptional exhibitions that explored the rich and diverse worlds of drawing. By
presenting the drawings of many cultural traditions from east to
west, north to south, and from the sixteenth century to today,
this series offered a candid view of the world as revealed
through the hand of the artist. The following five exhibitions
were part of this extraordinary presentation of drawing.
Media Sponsors:
The Vancouver Sun
CBC Radio One 690
CBC Radio Two 105.7
CBC Television
It is often through the act of drawing that ideas are worked out,
risks taken, parameters pushed. In this selection of works, forty
artists of international stature were brought together in a survey
of today’s dynamic approaches to representational drawing. The
exhibition investigated the ways in which contemporary artists
have pushed the limits of drawing and how they use this medium
to represent the world we live in. The exhibition followed a
course from the natural to the urban world, with the social and
imaginary spheres in between. The artists are Chiho Aoshima,
Xu Bing, Vija Celmins, Russell Crotty, R. Crumb, Betty Goodwin,
Yun-Fei Ji, Shelagh Keeley, William Kentridge, Toba Khedoori,
Margaret Kilgallen, Ann Kipling, Michael Landy, Mark Lombardi,
Natasha McHardy, Elizabeth MacKenzie, Kelly McLane, Jason
McLean, Myfanwy MacLeod, Sara Mameni, Luanne Martineau,
Alex Morrison, Dave Muller, Paul Noble, Grayson Perry,
Raymond Pettibon, Danica Phelps, Neo Rauch, Ben Reeves,
Derek Root, The Royal Art Lodge (Michael Dumontier, Hollie
Dzama, Marcel Dzama, Neil Farber, Drue Langlois, Myles
Langlois), John Scott, Jack Shadbolt, Shahzia Sikander and
Rirkrit Tiravanija.
Installation view of Margaret Kilgallen’s Main Drag, 2001
and John Scott’s Trans-Am Apocalypse No. 3, 1995
For the Record: Drawing Contemporary Life, Photo by Tim Bonham
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Bernardino Poccetti, Seated Angel, c.1610
red chalk on laid paper
Collection of National Gallery of Canada, Ottawa, Purchased 1969 (15899)
Vishnu-Narayana and Lakshmi mounted on Garuda Rajastan School, Bundi, c.1760
opaque watercolour and gold on paper
Collection of San Diego Museum of Art, Edwin Binney 3rd Collection, 1990 (683)
ITALIAN DRAWINGS FROM
THE NATIONAL GALLERY OF CANADA
POWER AND DESIRE: SOUTH ASIAN PAINTINGS FROM
THE SAN DIEGO MUSEUM OF ART, EDWIN BINNEY 3RD
COLLECTION
Organized and circulated by the National Gallery of Canada
Curated by David Franklin, Curator of Prints and Drawings,
National Gallery of Canada
The collections of the National Gallery of Canada include a rich
survey of drawings from 1520 to 1800 depicting the people,
landscape and activities of the time. These drawings show an
innovative use of chalk, ink and varieties of coloured paper, and
they give immediate insight into the work of major figures from
the Italian Renaissance such as Guercino, Giordano, Jacopo da
Empoli and Carracci, as well as the culture that inspired them.
These drawings provide a western foundation for representation.
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Organized and circulated by the San Diego Museum of Art
Curated by Dr. Caron Smith, Senior Curator of Asian Art, San Diego
Museum of Art; Dr. Vishakha Desai, Director, Asia Society Galleries;
Dr. Kavita Singh, Independent Scholar
India’s ancient tradition of miniatures has produced a unique
practice of drawing where exceptional depictions of battle,
romance, jealousy and everyday life are manifest in miniature
but exquisite form. These classic works are the great achievement
of Indian two-dimensional art, creating a world filled with the
richness of life, both religious and secular. Fifty-seven densely
narrative works made in the eighteenth and early nineteenth
centuries illustrate both human and divine lives using refined
linear patterns, brilliant colour and intricate design elements.
Theresa Baptiste, Untitled (Baby in Cradle Board in Tree), n.d.
watercolour and gouache on paper
Collection of the Osoyoos Museum
Jessie Oonark, Untitled (fish women), 1975
graphite and coloured pencil on paper
Collection of the Macdonald Stewart Art Centre, Purchased with funds donated by Blount
Canada Ltd., with assistance from the Ontario Government through the Ministry of Citizenship
and Culture, 1980 (MS980.134)
NK’MIP CHRONICLES: DRAWINGS FROM THE
COLLECTION OF THE OSOYOOS MUSEUM
WHERE THE RIVER WIDENS: DRAWINGS
BY BAKER LAKE ARTISTS
Curated by Ian Thom, Senior Curator, Vancouver Art Gallery,
in consultation with Andrea Walsh, University of Victoria
Organized and circulated by the Macdonald Stewart Art Centre, Guelph
Curated by Marion Jackson, Independent Curator; Judith Nasby,
Director, Macdonald Stewart Art Centre; William Noah, Independent
Curator
This suite of narrative drawings on paper depicts the interaction
of First Nations life and mainstream western culture during the
1930s and ’40s. The exhibition consisted of 32 drawings made
between 1936 and 1941 by a group of eight artists from the
Nk’mip First Nation, including Francis Baptiste, Johnie Stelkia,
Edith Kruger, Theresa Baptiste and Snow Kwame. Created with
ink, pencil, crayon and gouache, these works depict and reflect
a politically charged local cultural history. While occasionally
expressing a deep sense of wonder at the modern age, the
drawings also record important aspects of Nk’mip traditions as
the community’s relationship to the dominant western society
evolved.
This examination of Inuit drawings from the 1960s to the present
provided an overview of factors that affected the development
of Inuit art, as well as revealing the evolution of subject matter,
styles and community approaches. Inspired by traditional spirit
imagery as well as life on the land, the artworks also show the
unique world view of the artists in their choices of colour, subject
matter, perspective and formal design. The drawings, by major
artists such as Jessie Oonark and Simon Tookoome, integrate
traditional Inuit and subpolar cultural influences in such a way
that they are related to drawings from other Inuit communities
while remaining stylistically distinct.
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ROBERT SMITHSON IN VANCOUVER:
A FRAGMENT OF A GREATER FRAGMENTATION
September 20, 2003 to January 4, 2004
Curated by Grant Arnold, Curator, Vancouver Art Gallery
This exhibition included drawings, photographs, sculptures, film
and archival material related to Robert Smithson’s visits to
Vancouver in 1969–70. Smithson was one of the most influential
artists of the late twentieth century in his approach to landscape
and the conceptual possibilities of art. His interaction with the
local community had a lasting impact on art making in
Vancouver. Prominent among the works in the exhibition were
drawings and photographs related to Glue Pour, 1970,
produced for Lucy Lippard’s exhibition 955,000; Smithson’s
proposal for Island of Broken Glass; and Glass Strata with
Mulch and Soil (1970), commissioned by Ian Davidson for his
West Vancouver residence.
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CHAGALL: STORYTELLER
October 16, 2003 to February 8, 2004
This survey of the Russian-born European painter Marc Chagall
(1887–1985) was the first exhibition of his prints and paintings
presented in Vancouver. The exhibition focused on several illustrated
manuscripts and also included select loans from other private
and public institutions. Chagall is a major early modernist with
ties to surrealism. His narrative images, most notably his illustrated
books, are among the most compelling early modern images of
the Jewish experience. The artist’s work reflects the complex
collision of ideas that animated his world from Russian folk
imagery to constructivism, post-impressionism and surrealism.
His great attachment to the folklore of Russia was expressed in
images strongly influenced by French modernism. The sense of
longing for one’s place of birth and inability to return, particularly
after the advent of Soviet rule, has given his work a remarkable
poignancy and resonance.
Below: Robert Smithson: Glue Pour, 1970 (detail), 2000
Vancouver Art Gallery Acquisition Fund
Presenting Sponsor:
AIM Trimark
Below right: Marc Chagall, Lamon’s and Dryas’s Dream (from Daphnis and Chloe), 1960
colour lithograph, Collection of National Gallery of Canada, Gift of Félix Quinet, Ottawa, 1986
in memory of Joseph and Marguerite Liverant
Supported by Diamond Foundation
Media Sponsors:
The Vancouver Sun
CBC Radio One 690
CBC Radio Two 105.7
CBC Television
HOME AND AWAY:
CROSSING CULTURES ON THE PACIFIC RIM
Home and Away presented the work of six internationally
acclaimed contemporary artists whose works address notions of
globalization, diaspora, intersection and changing conceptions of
home and nation. Through their work these artists speak of the
rich histories of their homelands and their movements to and
from those places. The challenge for artists living in the global
village is to maintain a sense of self that is tied to their place of
origin, while celebrating the mobility and fluidity of movement
that is characteristic of our time. But what is the nature of these
movements and the new spaces, economies and identities that
are formed within these dispersals and intersections? The artists
in the exhibition were Sharon Lockhart, Jun Nguyen-Hatsushiba,
Do-Ho Suh, Fiona Tan, Jin-me Yoon and Yin Xiuzhen.
Media Sponsors:
Z95 FM
Maclean’s
Fairchild TV/Talentvision
Jun Nguyen-Hatsushiba, Memorial Project Nha Trang Vietnam:
“Towards the Complex—for the Courageous, the Curious,
and the Cowards,” (detail) 2001
digital video projection
Photo courtesy of the Artist and Mizuma Art Gallery, Tokyo
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From the Permanent Collection
EMILY CARR: DRAWING THE FOREST
May 25, 2002 to February 2, 2003
Organized by the Vancouver Art Gallery and the Art Gallery of Greater Victoria
Emily Carr is of primary importance in the history of this region and has been a major
influence on the art of subsequent generations. While she is widely recognized for her
painting practice, she also produced a very significant body of drawings. This exhibition
offered an in-depth look at her charcoal drawings made in the 1920s during an incredibly
productive and experimental phase of her career. These are works rarely seen,
because of their fragility, but they offer an immediate insight into Carr’s creative
process and the role of drawing in her work. The exhibition was shown at the Art
Gallery of Greater Victoria in 2001.
EMILY CARR: ART, PLACE, CULTURE
February 22, 2003 to Winter 2005
Curated by Daina Augaitis, Chief Curator / Associate Director; Cheryl Meszaros, Head of Public
Programs; Ian Thom, Senior Curator, Vancouver Art Gallery
Emily Carr, Forest, British Columbia, 1932
oil on canvas
Collection of Vancouver Art Gallery, Emily Carr Trust
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In order to cover the spectrum of Emily Carr’s career and her importance to the history
of art, this long-term installation develops the breadth and depth of the most significant
aspects of the artist’s practice. Through an examination of the themes of art, place
and culture, the exhibition provides a multi-layered investigation into Carr’s primary
significance as an instigator of west coast modernism. This sheds light on who Emily
Carr was, offering a fresh look at her profound relationship with the land, her interest in
aboriginal cultures, her unique spirituality and the social and aesthetic values of her
milieu. Paintings from the permanent collection are complemented by the work of
other modernists, including Mark Tobey, Lawren Harris and the Haida master carver
Charles Edenshaw.
THIS PLACE
June 29, 2002 to June 1, 2003
This Place presented more than 75 significant works from the
Gallery’s permanent collection, organized in three thematic
groupings: the land, indigenous cultures and the self. These
themes echo the grouping of works in the Carr, O’Keeffe,
Kahlo: Places of Their Own exhibition. This Place focused on
important contemporary and historical artworks by British
Columbia artists or major artists who have visited British
Columbia and addressed these themes. The section on the land
presented the many and diverse visions of the land produced by
historical and contemporary artists dating from the early 1900s
to the present. A second section examined historical representations
of indigenous cultures from the early 1900s to the mid-century
and the growing body of work that address self-representation
by contemporary indigenous artists. A third section addressed
notions of the self as they are formed by place. Artists included
Vikky Alexander, Emily Carr, Stan Douglas, Rodney Graham,
Teresa Marshall, Jock Macdonald, N.E. Thing Co., Bill Reid,
Jeff Wall, Jin-me Yoon and Lawrence Paul Yuxweluptun, among
many others.
Installation view of This Place, including work by Rodney Graham and Jeff Wall
Photo by Tim Bonham
TEMPORAL SURFACES
September 20, 2003 to January 4, 2004
Curated by Grant Arnold, Curator, Vancouver Art Gallery
Presented in conjunction with Robert Smithson in Vancouver: A
Fragment of a Greater Fragmentation, this exhibition encompassed
work that finds common ground in Smithson’s challenges to the
conventional role of art and his interest in time, disintegration
and disorder. Drawn in part from the Gallery’s collection,
Temporal Surfaces presented work by artists from Canada, the
United States and Europe, including David Diao, Christos Dikeakos,
Dean Ellis, General Idea, Dan Graham, Rodney Graham,
Michael Heizer, Nancy Holt, Douglas Huebler, Image Bank,
Geoffrey James, Mark Lewis, Duane Lunden, Michael Morris,
N.E. Thing Co., Anne Ramsden, Mark Ruwedel, Gerry Schum,
Jeff Wall, Ian Wallace, Lawrence Weiner and Kelly Wood.
Installation view of Temporal Surfaces, including work by Ian Wallace and N.E. Thing Co.
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“...one of the greatest exhibitions of modern
photography the Vancouver Art Gallery
has ever had.”
The Vancouver Sun
THE BIG PICTURE: RECENT ACQUISITION FROM THE
COLLECTION OF ALISON & ALAN SCHWARTZ
March 15 to September 1, 2003
Curated by Bruce Grenville, Senior Curator;
Melanie O’Brian, Assistant Curator, Vancouver Art Gallery
This exhibition presented the recent acquisition of more than
60 works by sixteen internationally acclaimed artists, acquired
from the Toronto collectors Alison and Alan Schwartz. Thanks to
these new works, which offer an inclusive overview of contemporary
photo-based art practices, the Vancouver Art Gallery now holds
one of the most comprehensive contemporary photo-based art
collections in North America. The artworks in this exhibition identify
and document the truths and mythologies of contemporary culture.
The camera’s lens is focused on various subjects—the individual,
society and the landscape—to produce images that are both
coolly analytical and emotionally compelling in their constructed
objectivity and precision. The artists in the exhibition were
Matthew Barney, Lothar Baumgarten, Philip-Lorca diCorcia,
Rineke Dijkstra, Felix Gonzalez-Torres, Dan Graham, Andreas
Gursky, Jenny Holzer, Louise Lawler, Gabriel Orozco, Thomas
Ruff, Thomas Schutte, Cindy Sherman, Thomas Struth, Jeff
Wall and Rachel Whiteread.
Andreas Gursky, Hong Kong Port, 1994
chromogenic print, Gift of Alison and Alan Schwartz
Photo by Tim Bonham
22
Touring Exhibitions
During 2003 the following exhibitions, organized by the Vancouver Art Gallery, toured to other venues:
THE UNCANNY: EXPERIMENTS IN CYBORG CULTURE
LIZ MAGOR
Mendel Art Gallery, Saskatoon
Edmonton Art Gallery
The Power Plant, Toronto
March 21 to May 25, 2003
This exhibition considered one of the most persistent cultural
images of the past century through a wide range of art by historical
and contemporary artists whose work addresses the subject
of the cyborg. The cyborg is an enigmatic figure that exists at
the intersection of science, technology and culture—it is both
human and not human, machine and not machine, and
simultaneously evokes anxiety and possibility.
E.J. HUGHES
The McMichael Canadian Art Collection, Kleinburg
This survey of work by the BC painter E.J. Hughes from the
early 1930s to the present focused on the artist’s representation
of the interaction between humans and the environment.
Hughes’ approach to the landscape is unique—extraordinarily
personal while engaging a realist tradition of painting. Examining
Hughes’ process in depth, the exhibition provided examples in
which a work was documented from start to finish, and included
paintings, drawings, prints and watercolours.
Tour Sponsor: Audain Foundation
This survey exhibition of the Vancouver artist Liz Magor included
sculptures, photographs and installations. Magor’s conceptual
work often investigates the relationship between authentic and
mediated experience. The exhibition examined her thematic
concerns on the mutation of identity over time and the desire to
reach unattainable goals.
BAJA TO VANCOUVER: THE WEST COAST
AND CONTEMPORARY ART
Seattle Art Museum
Organized by Seattle Art Museum, Museum of Contemporary Art San
Diego, Vancouver Art Gallery, and CCA Wattis Institute for
Contemporary Arts
This exhibition brings together four institutions and five curators
to present thirty-three of today’s hottest artists working on the
western edge of North America. Although Vancouver and Los
Angeles are internationally recognized art centres, the west coast
of North America has never before been the subject of a major
survey exhibition. Baja to Vancouver presents representational
work that responds to and engages with the physical and social
landscapes of the west coast.
23
Acquisitions
Ashevak, Kenojuak
Loons Protect the Owl, 2002
stonecut on tissue
Gift of J. Ron and Jacqueline Longstaffe
Raven Silhouette, 1998
relief print on tissue
Triumvirate, 1968
Askevold, David
Untitled (from States in the West), 1978–79
chromogenic print
Gift of Bill Jeffries
Baechler, Donald
Conversation, 1990
woodcut on paper
Barney, Matthew
CREMASTER 3: Plumb Line, 2001
chromogenic print in
custom-built frame
Bartram, Ed
Gneiss Gestures, Georgian Bay, 1996
intaglio on paper
From the collection of Mary Bromley
Precambrian Rune, 1985
intaglio on paper
Great Divide #1, 1983
intaglio on paper
24
Evening, Georgian Bay #2, 1982
intaglio on paper
Rockscape #5
(Canadian Shield Series), 1973
intaglio on paper
Bates, Maxwell
Street Scene, 1977
lithograph on paper
Gift of Ian Thom
The Abstract Painter, 1974
watercolour on paper
Waiting to Go Out, 1974
watercolour on paper
Assassin, 1969
oil on canvas
Algerian Women, 1962
lithograph on paper
Baumgarten, Lothar
Burlington Northern Railroad Pratt Deck
Truss Bridge, 1989
silver gelatin print in
custom-built frame
Texas & Pacific Railway Triangle Truss
Bridge, 1989
silver gelatin print in
custom-built frame
Der Jaguar Kann Niemals Seini Flecke
Verlieren (The Jaguar Can Never Lose
Its Spots), 1970
chromogenic print
Ameisenstaat (Ant Society), 1968
chromogenic print
Bell, Alistair Macready
Turkey Vulture, 1977
charcoal and felt pen on paper
Gift of Cal Ostrander
Boswell, David
Untitled (from Reid Fleming series), 2001
felt pen and graphite on paperboard
Gift of William and Shirley Corbeil
Untitled (from Reid Fleming
series), 2001
Untitled (from Reid Fleming: World's
Toughest Milkman No.3, Eclipse No. 2),
1987
Breukelman, Jim
After Life, 2002
inkjet print on paper
Gift of Duff Waddell
Calder, Alexander
Derriere le Miroir, 1973
lithograph on paper
Encore de l'Acier, 1969
lithograph on paper
Campos-Pons, Magdalena
Untitled, 1996
azo dye print on paper
Gift of Maryon and Jack Adelaar
Clay, Allyson
Performance for one person in any
interior space, 1990
coloured pencil and gouache
on paper
Stripes, c. 1987
acrylic on paper
Close, Chuck
Phil Manipulated, 1982
pigment on handmade paper
Davidson, Reg
Frog, 1991
screenprint on paper
Davidson, Robert
Getting Ready to Take Flight, 1995
Four Eagle Trout Heads, 1992
Echoes from the Supernatural, 1991
Butterfly, 1986
Dick, Beau
Raven Rattle, 1978
wood
diCorcia, Philip-Lorca
Los Angeles, 1998
chromogenic print
Marilyn, 28 years old, Las Vegas, NV,
$30, 1990–92
chromogenic print
Gianni, 1984
chromogenic print
Dijkstra, Rineke
Boy with Blue Water Bag, 1996
chromogenic print
School Boy and School Girl, 1996
chromogenic print
Dine, Jim
Five Paintbrushes, 1973
intaglio on paper
Doig, Peter
100 Years Ago, 2001
intaglio on paper
Duschenes, Julie
Untitled, c. 1988
acrylic on paper
Gift of David MacWilliam
Dzama, Marcel
Untitled, 2003
felt pen, watercolour and rootbeer wash
on paper
Gift of the Artist
Untitled, 2003
on paper
Gift of the Artist
Untitled, 2003
on paper
Gift of the Artist
Untitled, 2003
on paper
Gift of the Artist
Untitled, 2003
on paper
Gift of the Artist
Untitled, 2003
on paper
Gift of the Artist
Untitled, 2003
on paper
Gift of the Artist
Untitled, 2003
on paper
Gift of the Artist
Ewen, Paterson
Night Storm, 1973
acrylic on wood
Fafard, Joe
One Ego Cent, 1978
glazed ceramic
Falk, Gathie
Four Crows in a Box, 1995
oil on canvas
Picnic with Black Dog and Clock, 1976
glazed ceramic and paint
Fraser, John Arthur
Untitled (View of a Lake), c. 1870
oil on canvas
Gift of Dr. Rodrigo A. Restrepo
Gaucher, Yves
A-B+Gs-3, 1983
oil on canvas
Raga, 1968
Philip-Lorca DiCorcia, Marilyn; 28 years old, Las Vegas, NV, $30, 1990–92
chromogenic print, Gift of Alison and Alan Schwartz
Gilbert, Lorraine
Forest Interpretation Trail, Tofino,
Vancouver Island, B.C., from Shaping
the New Forest, Part 1: The
Landscapes, 1988–1994
chromogenic print
Gift of the Artist
Clearcutting Pemberton with the treeeater, Pemberton, B.C., from Shaping
chromogenic print
Gift of the Artist
Fresh cut in Gold River, B.C., from
Shaping the New Forest, Part 1: The
chromogenic print
Gift of the Artist
Cut stump on rock, Bella Coola, B.C.,
from Shaping the New Forest, Part 1:
The Landscapes, 1988–1994
chromogenic print
Gift of the Artist
Luc in Bella Coola, B.C., 1988, from
chromogenic print
Gift of the Artist
Tree-planting crew going to work in the
morning, Invermere, B.C., from Shaping
chromogenic print
Gift of the Artist
John in a slash burn, Princeton, B.C., from
chromogenic print
Gift of the Artist
Sunset on Coyote Valley, The Rockies,
Invermere, B.C., from Shaping the New
Forest, Part 1: The Landscapes,
1988–1994
chromogenic print
Gift of the Artist
Mother and son, planting, Invermere,
B.C., from Shaping the New Forest,
Part 1: The Landscapes, 1988–1994
chromogenic print, diptych part 1
Gift of the Artist
Mother and son, planting, Invermere,
Gift of the Artist
25
A bundle of hemlocks, Invermere, B.C.,
1992, fromShaping the New Forest,
Part 2: The Portraits, 1988–1994
chromogenic print
Gift of the Artist
Travelling to camp, Bella Coola, B.C.,
The Portraits, 1988–1994
chromogenic print
Gift of the Artist
Rothkop Camp View, The Rockies,
Rothkop Camp, Invermere, B.C., from
Portraits, 1988–1994
chromogenic print
Gift of the Artist
Ghislain and Sherry, Invermere, B.C.,
1989, from Shaping the New Forest,
chromogenic print
Gift of the Artist
Ti-Bob, Princeton, B.C., 1988, from
chromogenic print
Gift of the Artist
Louise Lawler, March 25, 1991, 1991
azo dye print
Photo by Tim Bonham
On the way to the Carmanah Valley,
Vancouver Island, B.C., from Shaping
Gift of the Artist
On the way to the Carmanah Valley,
Vancouver Island, B.C., from
Gift of the Artist
Creekbed, Vancouver Island, from
Gift of the Artist
Creekbed, Vancouver Island, from
Gift of the Artist
26
Deb in the snags, Invermere, B.C.,
1992, fromShaping the New Forest,
chromogenic print
Gift of the Artist
View of tree-planting camp, Invermere,
B.C., 1992, fromShaping the New Forest,
Gift of the Artist
View of tree-planting camp, Invermere,
B.C., 1992, fromShaping the New
1988–1994
Gift of the Artist
Luc in Princeton, B.C., from Shaping
chromogenic print
Gift of the Artist
Helicopter planting camp, Moh Creek,
Bute Inlet, B.C., 1989, from Shaping
chromogenic print, triptych part 1
Gift of the Artist
Gift of the Artist
Gift of the Artist
Tree-museum, Carmanah, Vancouver
Island, B.C., from Shaping the New
1988–1994
chromogenic print
Gift of the Artist
Carole and sister Josée, Invermere, B.C.,
1988, from Shaping the New Forest,
chromogenic print
Gift of the Artist
Anne and Kent, Invermere, B.C., 1989,
chromogenic print
Gift of the Artist
S.O.S. Camp, Princeton, B.C., from
chromogenic print
Gift of the Artist
Cookshack Bulletin, S.O.S. Camp,
Princeton, B.C., from Shaping the New
Forest, Part 2: The Portraits, 1988–1994
chromogenic print
Gift of the Artist
Monique and Sprocket, Invermere,
chromogenic print
Gift of the Artist
Dave and Tanya, Invermere, B.C.,
chromogenic print
Gift of the Artist
Kelly and Monty, Invermere, B.C.,
c. 1993, from Shaping the New
Forest, Part 2: The Portraits,
1988–1994
chromogenic print
Gift of the Artist
Jo Jo Bling, Invermere, B.C., from
chromogenic print
Gift of the Artist
Katelyn, Invermere, B.C., from
Shaping the New Forest, Part 2:
chromogenic print
Gift of the Artist
Zanzibar showers, Zanzibar Camp,
Invermere, B.C., from
chromogenic print
Gift of the Artist
Clothesline, Invermere, B.C., Dean
and Millie’s tent, 1990 from
chromogenic print
Gift of the Artist
Family of three, Invermere, B.C., from
Shaping the New Forest, Part 2:
chromogenic print
Gift of the Artist
Mom and her two kids, Invermere,
chromogenic print
Gift of the Artist
Mary, Princeton, B.C., 1988, from
chromogenic print
Gift of the Artist
Thomas Struth, Vegetable Market, Wuhan, 1995, Chinatown
chromogenic print
Photo by Tim Bonham
Naomi, Princeton, B.C., from Shaping
the New Forest, Part 2: The Portraits,
1988–1994
chromogenic print
Gift of the Artist
Dennis, Invermere, B.C., 1992, from
chromogenic print
Gift of the Artist
Marilyn, Princeton, B.C., 1988, from
chromogenic print
Gift of the Artist
Fish’s tent, Moh Creek,
Bute Inlet, B.C., from Shaping the New
Forest, Part 2: The Portraits, 1988–1994
chromogenic print
Gift of the Artist
Keep Cool, Invermere, B.C., Millie and
Janet in a sleet storm, 1992, from
chromogenic print
Gift of the Artist
The Drying Tent, Invermere, B.C., 1992,
chromogenic print
Gift of the Artist
Josée and Pam, Invermere, B.C.,
c. 1993, from Shaping the New Forest,
chromogenic print
Gift of the Artist
Jim and Dario, Invermere, B.C., 1989,
chromogenic print
Gift of the Artist
Anne in her Van, Moh Creek, Bute Inlet,
chromogenic print
Gift of the Artist
Self-portrait in studio, Invermere, B.C.,
Shaping the New Forest, prototype,
chromogenic print
Gift of the Artist
Lisa, Invermere, B.C., from Shaping the
New Forest, Part 2: The Portraits,
1988–1994
chromogenic print
Gift of the Artist
27
“The Vancouver Art Gallery has augmented its
already significant holdings in contemporary
photography and squarely confirmed
Vancouver Art Gallery's position as an
international capital of photo art.”
Canadian Art Magazine
28
Goodwin, Betty
Figure/Ladder XIX, 1997
graphite and oilstick on mylar
The Weight of Memory VIII, 1997
metal, glass, graphite, oil stick, pastel
and conte on vellum
Secours (Swimmer), 1993
Figure/Animal with Heart, 1991
Opening New Highway Restaurant,
Jersey City, New Jersey, 1967; Block
Party, Staten Island, New York City,
1972, 1967; 1972
2 chromogenic prints
Row of Tract Houses, Jersey City, NJ,
1966; People in Highway Restaurant,
Jersey City, NJ, 1969, 1966; 1969
Gross, Rowena
Untitled, 1930
Gift of Ruth Q. Grant
Untitled, 1989
conte, graphite and grease pencil on mylar
Gursky, Andreas
Sonntagsspaziergänger, Ratingen, 1984
chromogenic print
The Breath of Fear, 1985
graphite, pastel and oilstick on vellum
Hamilton, Richard
Adonis in Y Fronts, 1963
Weak Breath, 1985
graphite, oil paint and pastel on paper
Gloves Two, State 1, 1970
intaglio on paper
Gloves One, State 2, 1969
intaglio on paper
Gossips, 1949
charcoal, conte and ink on paper
Graham, Dan
Sleeping, Park Ave., Atrium,
New York, N.Y., 1987
chromogenic print
Trucks, New York, NY, 1966; "New
Colonial" Garage, Westfield, NJ, 1978,
1966; 1978
Motel, San Francisco, CA, 1974
chromogenic print
Harris, Lawren Stewart
Autumn Landscape, c. 1910
oil on composition board
Gift of Clemencia and
Stewart Sheppard
Hébert, Adrien
Untitled, c. 1935
graphite, ink, and ink pen on paper
Gift of Peter Ohler
Hockney, David
Going Out, 1993
lithograph on paper
Holzer, Jenny
What a Shock..., 1980–82
enamel on metal
You Can Watch People..., 1980–82
enamel on metal
Ityi, Naomi
Bear and Dog, nd
pencil crayon on paper
Jungen, Brian
Cetology, 2002
Vancouver Art Gallery Acquisition Fund.
Purchased with the support
of the Canada Council for the Arts
Acquisition Assistance program /
oeuvre achetée avec l'aide du
programme d'aide aux acquisitions
du Conseil des Arts du Canada.
Keeley, Shelagh
desire and the importance of failure, 1996
artist book, published by
Nexus Press
Gift of the Artist
Kipling, Ann
Rain Over Mountains I, 2000
drypoint on paper
Gift of J. Ron and
Jacqueline Longstaffe
Lawler, Louise
It Could be Elvis, 1994
azo dye print
What Else Could I Do?, 1994
azo dye print
Untitled (Dreams), 1993
azo dye print, crystal and felt
Untitled (Salon Hodler), 1992
azo dye print, crystal and felt
March 25, 1991, 1991
azo dye print
Loring, Frances
The Musician, c. 1953
plaster and paint
Gift of the Estate of Naomi Jackson
Groves
Lum, Ken
Girl in Pacific Centre Mall, 1992
acrylic on canvas
Macdonald, Euan
Untitled (orange city), 2000
alkyd on wood panel
Gift of Friends of the Vancouver Art
Gallery with Samuel and Shanit
Schwartz
Magor, Liz
Messenger, 1996/2002
wood, plaster, textile and found objects
Gift of the Artist
Martin, Agnes
Untitled, 1997
lithograph on paper
Metcalfe, Eric, and Kate Craig
Talking Colts Holster, 1987
textile and thread
Gift of Eric Metcalfe
Miró, Joan
Le Samuraï, 1968
intaglio on paper
Mitchell, Joan
Little Weeds I, 1992
lithograph on paper
Molinari, Guido
Untitled, 1958
gouache on paper
Morimura, Yasumasa
Self Portrait (Actress) After Marlene
Dietrich, 1996
chromogenic print
Gift of Vivian and Morris Saffer
Neshat, Shirin
All Demons Flee, 1995
Normoyle, Michelle
Manhattan at Night, c. 1988
Gift of Bill Jeffries
Oldenburg, Claes
Fire Hydrant, 1968
cast plaster and paint
Opalka, Roman
333, 1969
intaglio on paper
The Deluge, 1969
intaglio on paper
Toward the Sun, 1969
intaglio on paper
29
Orozco, Gabriel
Noodles in the Fence, 2000
azo dye print
CCCP (Soft Blue), 1993
azo dye print
Oshuitoq, Anirnik
Hunter Beckoning to Animals, 1963
stonecut / stencil on paper
Parr
Dog Team, 1963
Pauwels, Isabelle
Unfurnished Apartment for Rent, 2003
lithograph on paper (book)
Gift of Patrik Andersson and
Judith Steedman
Picasso, Pablo
Untitled (Suite 347, L24, Circus), 1968
intaglio and etching on paper
Sueño y Mentira de Franco, 1937
intaglio and etching on paper, part one
Sueño y Mentira de Franco, 1937
intaglio and etching on paper, part two
Scène bacchique au Minotaure, 1933
Pien, Ed
The Avenging Ghost, 1997
relief print on paper
Gift of Ken and Lorraine Stephens
The Ghost of Sadness, 1997
The Hungry Ghost, 1997
The Mysterious Growths, 1997
Pilot, Robert Wakeham
The Wharf—Early Spring, 1951
oil on wood panel
Pingwartok, Ulayu
Hunter, 1964
Pratt, Christopher
Ocean Racer, 1975
Pablo Picasso, Scène bacchique au Minotaure, 1933
30
Good Friday, 1973
Prince, Richard
Three Cosmological Landscapes, 1975
bone, metal, textile and wood
Qinnuayuak, Lucy
Nanupauja, 1979
stonecut on tissue
Radul, Judy
One Difference Waiting: Improvised
Dance in an Underground Parking Lot,
2 hrs., 1998
Betty Goodwin, Secours (Swimmer), 1993
Reid, Bill
Killer Whale, 1984
bronze and glass
Gift in memory of
Elizabeth Fellowes Nichol
Ruff, Thomas
Nacht 20 I, 1994–1995
chromogenic print
Nacht 11 I, 1992
chromogenic print
Interior 3C, 1981
chromogenic print
Interior 4B, 1980
chromogenic print
Interior 5A, 1979
chromogenic print
Schütte, Thomas
United Enemies—A Play in Ten Scenes
(Blue/Yellow), 1994
offset lithograph on paper
United Enemies—A Play in Ten Scenes
(Flower Scarf), 1994
offset lithograph on paper
Shadbolt, Jack
Genesis, 1994
acrylic on canvas
Gift of Doris Shadbolt
Garden Flux, 1993
aquatint on paper
Untitled, 1947
oil on wood panel
Gift of Peter Ohler
Seated Nude, c. 1938
oil on canvas
Gift of Heffel Gallery Ltd.
Chuck Close, Phil Manipulated, 1982
pigment on handmade paper
31
Sherman, Cindy
Untitled #129, 1983
chromogenic print
Untitled #105, 1982
chromogenic print
Smith, David
Untitled, 1963
lithograph on paper
Struth, Thomas
Via Allesandro Specci, Rome, 1984
Sumner, Richard
Eagle Design Bentwood Tackle Box, 1992
wood and paint
Tod, Joanne
About Face, 2000
oil on canvas
Auntie G, 1998
oil on canvas
Tookoome, Simon
Takjarniat Isumaliuqtut, 2001
Untitled, 1997
metal
Story, 1993
Two Caribou, 1990
lithograph on paper
Nuxamiutat, 1981
Two Headed Dog Chasing Quiving, 1976
An Embarrassing Tumble
[man with two heads], 1976
32
The Kind Animals, 1975
Hide and Seek, 1973
A Vision of Animals, 1972
lithograph on paper
Spirit of the Land, Spirit of
the Water, 1971
lithograph on paper
Untitled, nd
drawing on paper
Ustinov, Platon
Souvenir of a Nice Stay in Porterville,
California, 1949
gouache and watercolour on paper
Gift of Mary Emily Price
Portrait of Miss M.E. Price, 1941
oil on canvas
Gift of Mary Emily Price
Walker, Horatio
Homeward Bound—Winter, c. 1930
oil on wood panel
Wallace, Ian
Working Space IV, 1993
Anonymous Gift
Wan, Theodore Saskatche
Victoria General Hospital, 13th Floor, 1979
3/4 inch open reel videotape
transferred to Beta SP
From the Estate of the Artist
Theodore Saskatche Wan: Name
Change, c. 1979
postcards (2)
Empirical Method I, 1977
Empirical Method II, 1977
Technique for Vasectomy, c. 1977
Weiner, Lawrence
NEW WORK SETTING THE STAGE, 2003
offset lithograph on paper (poster)
Published by Galleri Susanne
Ottesen, København, Denmark
Gift of Galleri Susanne Ottesen and
Moved Pictures, New York City
PRIMARY, SECONDARY, TERTIARY, 2003
Published by Kunstverein Ruhr,
Essen, Germany
Gift of Moved Pictures, New York City
LA DESTINÉE, LE DESTIN, 2003
Published by Yvon Lambert, Paris
PAS ENCORE COMME UN NOM,
PARFOIS L'HORIZON C'EST PLUS
COMME UN VERBE, 2002
Published by Association Emmetrop,
Bourges, France
PAS ENCORE COMME UN NOM,
PARFOIS L'HORIZON C'EST PLUS
COMME UN VERBE, 2002
Published by Association Emmetrop,
Bourges, France
WALL PAPERS—CAUGHT BETWEEN
SHIPS PASSING IN THE NIGHT, 2000
Published by Art Gallery of Nova Scotia
DRAWINGS OF & ABOUT POSTERS,
1999
Published by Leslie Tonkonow Artworks
+ Projects, New York
Welling, James
Untitled (#F-1), 1986
ink on paper
Gift of Marshall and Ann Webb
Untitled (Tile Photo #15), 1985
Untitled (D-121), 1984
Whiteread, Rachel
Demolished, 1995
12 screenprints on paper
Wood, Alan
Study for Beach Accumulation #1, 1994
coloured pencil and pastel on paper
A Sound of the Sea #11, 1998
wood and paint
Young, Robert
Looking at Me, 1973
acrylic on canvas
Anonymous Gift
Untitled, 1992
gouache on paper
Gift of Lasha Nyznik Roche
Zuck, Tim
Silo, 1983
graphite on paper
Marcel Dzama, Untitled (detail) 2003
felt pen, watercolour and rootbeer
wash on paper, Gift of the Artist
33
Publications
Catalogues and Brochures
THE BIG PICTURE: RECENT ACQUISITION FROM THE
COLLECTION OF ALISON & ALAN SCHWARTZ
Two-fold brochure documenting the exhibition in full colour.
Introduction by curators Bruce Grenville and Melanie O’Brian,
7 images and list of works in the acquisition.
NEXT: LWPAC
One-fold brochure to accompany the installation by the
architect Oliver Lang. Text by curator Bruce Grenville, 6 colour
images and biographical notes.
FOR THE RECORD: DRAWING CONTEMPORARY LIFE
A 1O4-page, colour and black-and-white publication to accompany
the exhibition. Text by curator Daina Augaitis with interjections
from the artists, biographical notes by Melanie O’Brian.
One-fold brochure to accompany the exhibition. Introductory text
by curator Ian Thom, 2 colour and black-and-white images, list of
works and biographical notes.
HOME AND AWAY: CROSSING CULTURES ON THE PACIFIC RIM
A 72-page full-colour publication to accompany the exhibition.
Curatorial introduction by Bruce Grenville, texts on the artists by
Sascha Bronwasser, Amy Huei-Hua Cheng, Joan Kee, Germaine
Koh, Howard Singerman, Heidi Zuckerman Jacobson, and a list
of works.
34
Other publications
2002 ANNUAL REPORT
A 48-page publication with colour and black-and-white images.
EXTRAORDINARY: A CONTEMPORARY DESIGN EVENT
A 30-page, full-colour catalogue of auction items.
glance: NEWS AND EVENTS OF THE
VANCOUVER ART GALLERY
January–May 2003; June–August 2003;
September–December 2003.
35
Public
The most consistent characteristic of the Vancouver Art Gallery’s
audience is its diversity. The Gallery welcomes visitors from
many cultural backgrounds who bring wide-ranging interests
and different levels of art knowledge. Public Programs’ central
role is to respect and build on the diverse learning styles and
interests that visitors bring to their Gallery experience. Through
interpretive materials, participatory activities and informative
programs, the Gallery continued in 2003 to offer visitors many
avenues through which to approach, explore and think about art.
In keeping with the international range of exhibitions in 2003,
Public Programs presented nationally and internationally significant
speakers. The year began with a series of talks by contemporary
BC artists, including the painter Takao Tanabe, winner of a Governor
General’s Award in 2003. The Home and Away symposium
brought the internationally renowned scholar Irit Rogoff to
Vancouver, as well as artists and curators from the United States,
Europe and Asia. Bella Meyer, the granddaughter of Marc Chagall
and one of the world’s leading authorities on his work, shared
new, intimate insights into Chagall’s work before a sold-out
audience. In all, the Gallery presented twenty talks and symposiums with a combined audience of more than 5,000 people.
Family audiences continued to grow through the year in number
and enthusiasm as supersunday, Kidsworld Day and Community
Centre summer camp programs were consistently filled to
capacity. These programs too reflected a strong interest in
contemporary art. Children were able to discover and investigate
36
Programs
video, photography and installation, and to develop an enriched
vocabulary of materials and ideas about art that reflects on the
world they live in today. supersunday welcomed almost 9,000
participants in 2003.
School audiences continue to be a significant focus for Public
Programs. Guided tour/workshops for elementary and secondary
students, secondary school residencies on contemporary art, and
self-guided tour packages for people with English as a second
language were all strong parts of the program. Into the
Classroom programs that teach teachers are another cornerstone,
including the Teacher Institute, a week-long summer intensive
now in its second year. Throughout the school year, Visual
Literacy in the Classroom professional development days
brought teachers to the Gallery for full-day workshops.
Attendance for school programs continued to grow, and this
year saw record-breaking attendance for Chagall: Storyteller.
Overall, nearly 15,000 students and teachers took part in
programs over the year.
In 2003, in-Gallery interpretation focused on new strategies
for engaging visitors with contemporary art. In addition to daily
exhibition tours, Animateurs developed new initiatives in
contemporary exhibitions, including informal discussions with
guest speakers and broader tours linking contemporary and
historical exhibitions. Interpretive spaces too reflected a new
engagement with contemporary work, best exemplified by the
Drawing Room featured in Drawing the World. The Vancouver
artist Elizabeth MacKenzie created a wall-sized graphic work
mapping the significance of drawing, and inviting visitors to do
the same. Kidstops and Family Guides became an established
part of Gallery programming, supported by new sponsorship.
This ongoing presence engages families as they learn about art
together through observation, discussion and creative play.
Public Programs remains committed to building partnerships
in the arts and education communities to develop innovative
programming in all areas. Highlights from 2003 include:
· Home and Away: The Symposium with Simon Fraser
University School for the Contemporary Arts and Centre A:
Vancouver International Centre for Contemporary Asian Art
· Printmaking demonstrations and discussions in Chagall:
Storyteller with Malaspina Printmakers Society
· A pilot for an interdisciplinary arts curriculum linking
museums, practising artists and schools, undertaken with
MainDance and ArtStarts in Schools
Our programs continue to represent a model of best practice,
and peer institutions across Canada and the United States
regularly consult with us and visit Vancouver to study our work.
We also welcome interns in museum education from around the
world. The work of Public Programs would not be possible
without the inspired work of nearly 20 full- and part-time staff
members and more than 120 volunteers who plan, prepare and
deliver Gallery programs.
37
Recognition
The generosity of all of our
donors ensures the continuing development of the
Vancouver Art Gallery for
the benefit of its diverse
community and for future
generations. We are grateful
for your commitment.
Estate of Dr. Max Stern
Painting Trust
Philip Lind, O.C.
Mr. Robert and
Mrs. Janine Chilcott
Dr. Martin and Mrs. Grace Robin
Mr. Mike Rehill
Mrs. Gordon T. Southam
Gordon and Marion Smith
Mr. and Mrs. Kenneth D. Cross
Mr. Milton and Mrs. Fei Wong
Mr. Mark and
Mrs. Barbara Cullen
Mr. and Mrs. Peter
Paul Saunders
Mrs. Mary Margaret Young
Mr. Bagley and
Mrs. Jinny Wright
2003 CONTRIBUTIONS
Ambassador - ($2,500.00 +)
LEADERSHIP CIRCLE
Visionary Circle - ($100,000.00 +)
These levels of
acknowledgement reflect
the Gallery’s 2003 Donor
Program. Due to space
constraints, we are unable
to list all of our donors but
their support is greatly
appreciated.
David and Barbara Gillanders
Mr. and Mrs. Paul Heller
Dr. Marla Kiess
Director's Circle - ($25,000.00 +)
Cathy and David Scott
Mr. Rick Erickson
Bonnie and Don Sheldon
Mr. John de Courcey Evans
Mr. Joseph Sieh
Moreno and Dagmar Gabay
Mrs. Gloria Smith
Mrs. Grace Gordon-Collins
and Mr. Ernest Collins
Mr. E. Sonner
Ms. Kitty Heller
Mrs. Gordon T. Southam
Peter and Alison Speer
Mr. Jake and Mrs. Judy Kerr
Mr. Lawrence and
Mrs. Sherry Killam
Dr. Kevin B. Leslie
Beth Ann and Nick Locke
Mr. Michael O'Brian
Mr. and Mrs. William Sauder
Dr. and Mrs. D.B. Rix
Mr Eric Savics
Mr. Geoffrey Scott and
Ms. Leslie Stowe
Curators' Circle - ($10,000.00 +)
Mr. Peter and Mrs. Opal Wong
Mr. Richard and
Mrs. Patricia Charles
Benefactor - ($1,200.00 +)
Marian and John MacFarlane
MAJOR LIFETIME CONTRIBUTORS
Anonymous (2)
Chris and Sophie Dikeakos
Lifetime financial contributions
of $500,000 or more
Ms. Susan Almrud
Ms. Enid Marion and
Mr. James Hoggan
Mr. Henning and
Mrs. Brigitte Freybe
Daina Augaitis
Mary and Ian McDonald
Chris and Lib Wootten
Brian and Kathleen Bartels
Joseph E. and Arlene McHugh
Wallace and Dorothy J. Beck
Mr. and Mrs. Frank Mingie
Mr. Wesley Yuen and
Mr. Patrick K. Prinster
Mr. Stephen and
Mrs. Katherine Bellringer
Coleen and Howard Nemtin
Life Benefactors Endowment Fund
Dr. Michael and
Mrs. Elizabeth Noble
Anonymous
Mrs. Heather Notman
Mr. Michael J. Audain and
Ms. Yoshiko Karasawa
INDIVIDUALS
Mr. Michael J. Audain and
of $250,000 to $499,999
Anonymous
Mr. George and
Mrs. Karen Killy
of $100,000 to $249,999
38
Virginia and Michael Alexandor
Mrs. Annette Rothstein
Mira Godard
Ms. Catriona Jeffries and
Mr. Nigel Harrison
BENEFACTORS CIRCLE
Collectors Circle - ($5,000.00 +)
Mrs. Marti Barregar
Mr. Gary R. Bell
Mr. and Mrs. Peter Cundill
Anonymous
Mr. David Gooding
Mr. and Mrs. Peter Brown
Mr. and Mrs. Paul Heller
Mr. Elias M. Doumet
Mr. Sam and
Mrs. Sylvia Ketcham
Mr. and Mrs.
Winslow W. Bennett
Mr. and Mrs. James R. Houston
Mr. Donald and
Mrs. Patricia Hudson
Mr. and Mrs. Roderick
Hungerford
Mr. Robert M. Ledingham
Mr. Ralph and Mrs. Lucy Lewis
Cheryl Stevens
Andy Sylvester
Ms. Edie Thompson
Nicholas and Vaughan
Thornton
Mr. and Mrs. Garth Thurber
Leslie Cliff and Mark Tindle
Mr. and Mrs. Leon Tuey
H. P. Wakefield
Mr. and Mrs. Robert Annable
Mr. Richard and
Mrs. Valerie Bradshaw
Professor John and
Mrs. Helen O'Brian
Kathleen and H. Laing Brown
Mr. and Mrs. Daniel Pekarsky
Mr. and Mrs. Samuel Belzberg
Mrs. Ann Cameron
Mr. and Mrs. Peter J. G. Bentley
Ms. Louise Cecil
Mr. John and
Mrs. Margaret Pitts
Mr. Peter and
Mrs. Anne Cherniavsky
Ms. Catherine Robertson and
Mr. Alex Shorten
Mr. and Mrs. Robert G. Brodie
Jerry and Merla Beckerman
Mr. and Mrs. Bruce Branch
Mr. and Mrs. Ronald Laird Cliff
Mr. and Mrs. F. Peter Cundill
Mr. and Mrs. James Rainer
Mr. and Mrs. Robert Heffel
Mr. Kenneth and
Mrs. Susan Ronalds
Mr. and Mrs. David K.J. Heffel
Mr. Paul and
Mrs. Edwina Heller
Mr. John and Mrs. Marilyn Ross
Mr. David E. Lemon
Ms. A. Rowles
Mr. Ed Life
Dr. Jane Silvius
Dr. William and Ms. Ruth Ross
EXHIBITION SPONSORS
EMILY CARR:
ART, PLACE, CULTURE
Significant support provided by:
Associates of the Vancouver
Art Gallery
MEDIA SPONSORS
Shaw Communications Inc.
BC Parent News Magazine
Van-Kam Freightways Ltd.
CBC Radio One
and Radio Two
West Fraser Timber Co. Ltd.
Investor - ($2,500.00 +)
CBC Television
April Investments
Fairchild TV
and Talentvision TV
Commonwealth Insurance Co.
Mr. J. Ron and
Mrs. Jacqueline Longstaffe
Mrs. Audrey Sojonky
E.J. HUGHES
Ms. Dawn C. Taylor
Co-presenting Sponsors:
Knowledge Network
Mary and Ian McDonald
Mr. John and Mrs. Judy Taylor
Maclean’s Magazine
Mr. and Mrs. Gerald A. McGavin
Mr. Walter and Mrs. Vera Thorne
Industrial Alliance Pacific Life
Insurance Company
Dr. David I. McLean and
Dr. Siu Li Yong
Mr. Gary Wagenheim and
Ms. Carolyn Egri
Weyerhaeuser Company
Limited
The Globe and Mail
Vancouver Magazine
and Western Living
Davis & Company
Faskin Martineau DuMoulin LLP
Forum Group
Marin Investments Ltd.
Print Works
The Vancouver Sun
Sauder Industries Ltd.
Z95.3FM
Stikeman Elliott
Mr. and Mrs. David McLean
Ann and Marshall Webb
Tour Sponsor:
Mrs. Kathleen Meek
Audain Foundation
Elizabeth and John Nichol
Dr. Edward and
Mrs. Eugenie Yeung
Publication Sponsors:
PROGRAM SPONSORS
Mr. Michael O'Brian
Ms. Christina Yli-Luoma
Alexander, Holburn, Beaudin
& Lang
Dr. and Mrs. D.B. Rix
Tony Yue
Mr. Jacques and
Mrs. Margaret Barbeau
SCHOOL PROGRAMS
Bing Thom Architects Inc.
Presenting Sponsor:
Borden Ladner Gervais
TELUS Communications
Davidson Yuen Simpson
Additional support provided by:
Equinox Gallery
Imperial Oil
Charitable Foundation
Farris Management Limited
Print Sponsors
supersunday
McGavin Properties Ltd.
Hemlock Printers
Presenting Sponsor:
Motion Picture Studio
Production Technicians
Jarislowsky Foundation
Mr. and Mrs. Kenneth Woods
TRIBUTE GIFTS
Dr. Max Stern Painting Trust
MEMBERSHIP CIRCLE
In Memory of Ms. Jean Fraser
Friend - ($600.00 +)
Vancouver Elementary School
Teachers’ Association
Additional Support for exhibition
travelling provided by:
Anonymous
Museum Assistance Program
Supporter - ($1,000.00 +)
Grosvenor Canada Limited
Christopher and Judith Braun
In Memory of Ms. Norah Kembar
Mr. David A. Freeman
Dr. Jill C. Wade
Mr. Robert and Mrs. Lily Lee
In Memory of Ms. Gale Lloyd
FOR THE RECORD: DRAWING
Patricia Melvin
CONTEMPORARY LIFE
KIDSTOPS, KIDSWORLD DAY,
Support for this exhibition
provided by:
PARENT EDUCATION EVENINGS
The British Council
Presenting Sponsor:
Supporting Member - ($300.00 +)
In Memory of Ira Young
VANCOUVER: A FRAGMENT OF A
INTO THE CLASSROOM
FOUNDATIONS,
ASSOCIATIONS
AND GRANTS
Anonymous
Anonymous
GREATER FRAGMENTATION
Presenting Sponsor:
Anako Foundation
Dr. and Mrs. James Brosnan
Catalogue Support:
TD Bank Financial Group
John and Helen Chaston
Mr. Michael and
Art Gallery
Ms. Judith B. Daughney
Jerry and Merla Beckerman
LEARNING CENTRES
Audain Foundation
Mrs. M. E. Douglas
Ms. Elizabeth Bell and
Mr. Leslie Windsor
Mr. Eric and
Mrs. Shirley Wilson
Dr. Gerald and
Mrs. Shery Wittenberg
Mr. Barry and
Mrs. Elzunia Fulford
Ms. Jacqueline Gijssen and
Dr. John Nightingale
In Memory of Leona Riley
Mr. Richard and
Mrs. Patricia Charles
Ms. Sheelagh Cluney
Ms. Grace Gilroy
Coquitlam Centre
Mrs. Barbara C. Hopkins
Mr. Henning and
Dr. Penelope A. Koch
Dr. Andre Krassioukov
Mr. Richard and Mrs. Lois Lester
Mr. Julian Marlowe
Mr. Alfred and
Mrs. Donalda Long
Ms. Delia Puttkamer
Mr. and Mrs. G. Edward Moul
In Memory of Charles Connaghan
Mr. Ronald Pears
Polygon Homes Limited
HSBC Bank Canada
VanCity Savings Credit Union
AND FAMILY GUIDES
BC Hydro
ROBERT SMITHSON IN
Chris and Sophie Dikeakos
HOME AND AWAY: CROSSING
Presenting Sponsor:
CULTURES ON THE PACIFIC RIM
The Great-West Life
Assurance Company and
London Life
CORPORATE CIRCLE EVENT
Mondriaan Stichting
(Mondriaan Foundation)
Deloitte & Touche
Presenting Sponsor:
Peter Cundill & Associates, Inc.
Purdy Chocolates Ltd.
The British Council
The Christopher Foundation
Government of Canada:
Canada Council for the Arts
Acquisition Assistance
CORPORATIONS
Assistance to Art
Museums and Public
Galleries
Presenting Sponsor:
Catalyst - ($75,000.00 +)
Project Assistance
AIM Trimark Investments
Harley Street Holdings Inc.
Advocate - ($5,000.00 +)
The Diamond Foundation
Diversified Management Inc.
The Japan–Canada Fund:
a gift to the Canada
Council for the Arts from
the Government of Japan
KPMG
Kathryn Pearson
Polygon Homes Limited
Ms. B. Perowne
Power Corporation of Canada
Ms. Phoebe A. Price
39
Culturally Diverse Curators–
The Canada Council for the
Arts Assistance to Culturally
Diverse Curators for
Residencies in Visual Arts
Alison and Alan Schwartz
Ms. Mary Bromley
Mr. William Corbeil
Art Gallery
David Stimpson
Mr. Stuart and
Mrs. Clemencia Shepard
Mr. Marcel Dzama
Dr. R.P. Beck
Sylvia Hotel
Mr. Keith Westergaard
Ms. Lorraine Gilbert
Ralph Carter
Visiting Foreign Artists
Lifetime gifts of $250,000
to $499,999
Ms. Ruth Grant
Centre A: Vancouver
International Centre for
Contemporary Asian Art
Top of Vancouver Revolving
Restaurant
Department of Foreign Affairs
and International Trade
Summer Career
Placement Program
Canadian Heritage
Museums Assistance
Program
Cultural Spaces Canada
Young Canada Works
Canada/ France Accord
Greater Vancouver
Regional District
The Hamber Foundation
Kaatza Foundation
The Ouellette Family Foundation
Larkspur Foundation
Province of British Columbia:
British Columbia Arts
Council
BC Digital Collections,
British Columbia Arts
Council /BC Museums
Association
Mr. Laing and
Mrs. Kathleen Brown
Mr. David Heffel and
Mr. Robert Heffel
Mr. Bo Ivanovic
Mr. Cordell Couillard
Mr. Bill Jeffries
Mr. Ian Davidson
Ms. Shelagh Keeley
Mr. Thomas J. Deutsch,
Mr. P. C. Devlin, and
Mr. Peter K. Jensen
Mr. J. Ron and
Mr. Henning and
The Estate of John Parnell
Mr. and Mrs. Daniel Pekarsky
John Petch, QC
Mr. David MacWilliam
Ms. Liz Magor
Mr. Eric Metcalfe
Mr. John L. Nichol
Mr. Peter Ohler
Diana Chown
Dana Cserepes
Emily Carr Institute of
Art and Design
Four Seasons Hotel
Vancouver League for Studies
in Architecture
Mr. Cal Ostrander
Granville Island Model Ship
Museum
Ms. Susanne Ottesen
Sherry Grauer
Vancouver Symphony
Mrs. Doris Shadbolt
Ms. Mary Emily Price
Vancouver Youth Theatre
Sandra Simpson
Dr. Rodrigo Restrepo
grunt gallery and LIVE!
Biennial
Takao Tanabe
Ms. Lasha Roche
Holt Renfrew
Mr. Morris Saffer
Patricia Hudson
Video Study Group of the
Mr. Alan and
Mrs. Alison Schwartz
Jessel BMW
Wedgewood Hotel
Janet Ketcham
West Restaurant & Bar
Mr. Sam and
Mrs. Shanit Schwartz
Sister Junia Kunanec SSMI
Western Front New Music
Society
Mr. Gerald and
Mrs. Doris Radowitz
to $249,999
A. Bernard Coady,
Daryl K. Seaman, and
Donald R. Seaman
Michael Lambert
Mr. Stewart Sheppard
The W. P. Scott Charitable
Foundation
Dr. Abraham Greenberg
Mr. Ken Stephens
Mrs. Naomi Greenberg and
Ms. Judith Greenberg
Mr. Ian Thom
Vancouver Foundation
The Estate of Naomi
Jackson Groves
Ann and Marshall Webb
Malaspina Printmakers
Society
Mr. and Mrs. Lawrence Weiner
Mr. Geoffrey F. Hyland
Mayfair Properties
GIFTS OF ART
Mr. Stephen Woodhouse
Members of the Community
Advisory Committee for
Drawing the World and
Chagall Storyteller
Mr. Duff Waddell
Morris and Miriam Kaplansky
MAJOR DONORS OF ART
Ms. Ann Kipling
Lifetime gifts of $5,000,000
or more
Jane Mastin and James Funk
ADDITIONAL SUPPORTERS
Mr. Toni Onley
We wish to thank the following
individuals and organizations
who have generously supported
the Gallery in 2003.
Lifetime gifts of $1,000,000
to $4,999,999
Dr. Rodrigo Restrepo
Official Paint
Mr. John and
Mrs. Eve Davidson
Mr. Larry I. Ruskin
Benjamin Moore
Gordon and Marion Smith
to $999,999
UBC Robson Square
Vancouver Board of Parks and
Recreation
The Fairmont Waterfront
Mrs. Doris Shadbolt
Mr. W. Maurice and
UBC School of Music,
Gene Ramsbottom and
Karen Lee-Morlang,
Masae Ueno
Gluskin Sheff & Associates Inc.
Mr. J. Ron and
UBC Faculty of Education,
Department of Curriculum
Studies
The Fairmont Hotel
Mr. A.J. Diamond
The Simons Foundation
Tourism BC
C. Eriksson
RBC Foundation
Gaming Revenues
40
Chan Centre for the
Performing Arts, UBC
Strathcona Elementary School
Mr. James Mastin and
Mrs. Barbara Mastin
Mr. Ian H. Wallace
Mr. and Mrs. Lawrence Weiner
Mr. Ira and Mrs. Lori Young
Official Storage
Bekins Moving and Storage
(Canada) Ltd.
DONORS OF ART
AAA Horse & Carriage in
Stanley Park
Anonymous (2)
Gifts in 2003
Jack Ackroyd
Mrs. Toni Ann Chowne
Jan Adaskin
Mr. John Nichol
Mr. Jack and
Mrs. Maryon Adelaar
The Estate of Kathleen Reif
Mr. Patrick Andersson
ArtStarts in Schools
Virginia Alexandor
J. Ron Longstaffe
Carol MacKenzie
MainDance
Vancouver Opera
VECC
University of British Columbia,
Department of Fine Arts
VOLUNTEERS
Jason McLean
Morton's The Steakhouse
Musicians Recording
Industries Trust Fund
O'Douls Restaurant
Opus Hotel
Pacific Cinémathèque
Presentation House Gallery
Purdy's Chocolate
Alan and Alison Schwartz
Simon Fraser University
School for
Contemporary Arts
Simon Fraser University
Continuing Studies,
Philosophers’ Café
The Vancouver Art Gallery is
grateful for the dynamic group of
volunteers who donate their
time, commitment and energy to
this institution.
350 volunteers donated over
22,000 hours in all programs.
Thank you!
EXTRAORDINARY 2003,
Cocoon
Larry Killam
Radiant Communications
West Coast Air Ltd.
A CONTEMPORARY
Barbara Cohen
Sherry Killam
Raincity Grill
West Restaurant & Bar
Ernest Collins
The Killy Foundation
Raincoast Books
The Westin Grand Vancouver
Craig Krull Gallery, Santa
Monica
Koala Sparkling Fruit
Beverage
Catherine Regehr
Whistler Sparkling Water
Riggit Services Inc.
William Switzer & Associates
Robert Davidson
Dr. Gerald Korn
Richard Shultz Design
The William Tell Restaurant
Supporting Sponsor
Dayton Shoe Company
Seiji Kuwabara
Deans Knight Capital
Investments Ltd.
Robert Lemon Architect Inc.
With A Twist
Diva at the Met
Michel A. Laflamme, malDesign
Grace Robin
Peter Wong
Douglas Udell Gallery
Rocky Mountain Sound
Ronald Yuen
Media Sponsors
Earthrise Florist
Csaba Laszlo, Procomplex
Metal Arts
Vancouver Magazine
Zonda Nellis Design
Arthur Erickson
Le Gavroche
Rodney's Oyster House
The Vancouver Sun
The Fairmont Scottsdale
Princess Hotel
Lesley Stowe Fine Foods
Western Living Magazine
Venue
Fast & Epp Partners
Liberty Merchant Company
Courtesy of
Vancouver Port Authority
Feature Millwork Inc.
LivingSpace
Flou Italia
Lolah
Extraordinary 2003 was made
possible, in part, with the generous
donations of the following
individuals and businesses:
Four Seasons Hotel
Long Beach Lodge Resort
Four Skimboards International
Lululemon Athletica
Freybe Gourmet Foods
Lumiere
Anonymous
Samuel Frid, Threshold
Design
The Magnolia Hotel & Spa
A&B Party Rentals
Frou-Frou Designs
Liz Abbott
Martha Sturdy Inc.
Barry Scott, Maynards
Auction House
Gagosian Gallery
David Aisenstat
Gary McCLoy
Seair Seaplanes Ltd.
George Third & Son
Omer Arbel, Some Furniture
Shaw Contract
Barbara and David Gillanders
Roy McMakin, Domestic
Furniture
Art Gallery of Greater Victoria
Graham Gillmore
MDT Technical Services Inc.
AV Projects
Gloria Smith
Grace Gordon-Collins
Memphis Blues Barbeque House
B & B Scale Models Inc.
Smoking Lily
Dorothy Grant
Metropolitan Hotel
Bang & Olufsen, Burrard St.
Audrey Sojonky
Midland Appliance
base Energy Drinks
Grouse Mountain,
The Peak of Vancouver
Solus Décor
Minter Country Garden Ltd.
Battersby Howat
Growers Soft Cider
Sophie's Cosmic Café
Mondavi Wines
Merla Beckerman
Cole Haan, G Series
Southlands Nursery
Mondo Gelato
Bekins Moving & Storage
(Canada) Ltd.
Harrison Hot Springs
Resort & Spa
Studio North Design
Monny's Envision Optical
Suki's Salons
Barbara Bell, Formativ Design
Helijet International Inc.
Simon Muscat
Swarovski Canada Ltd.
Bin 941
Kitty Heller
Fred Nicholas
This Is It. Design Inc.
Bin 942
Herman Miller Canada
Nico Spacecraft
Toby's Cycleworks
Bing Thom Architects
Hilary Miles Flowers Ltd.
Nienkamper
Bis Moreno
HMY Airways Inc.
Tom Lee Music, Home
Keyboard Division
Bishop's Restaurant
Holt Renfrew
Blue Water Café
Illy Espresso Canada
Bombast
Inform Interiors
Bombay Sapphire Gin
Innovative Fitness
C Restaurant
Michel Jacob, Le Crocodile
Brad Cameron, Level Design
Jacqueline Longstaffe
The Centre in Vancouver for
Performing Arts
James Cheng Architects
Pat and Rick Charles
Judy Kerr
Chernoff Fine Art
Cin Cin
Kerrisdale Heritage Paint &
Paper (Div.) Kerrisdale
Lumber
Circa Publishing LLC
Sam Ketcham
DESIGN EVENT
Major Supporting Sponsor
Phillips, Hagar & North
Investments Management Ltd.
Chocolate Arts
Kaya Kaya
Kevin B. Leslie
Mahonia Florist
Nuheat Industries
Michael O'Brian
O’Doul’s Non-Alcoholic Beer
Opus Framing and Art Supplies
Opus Hotel Vancouver
Osburn Clarke Productions Inc.
Pan Pacific Whistler
Pastis Restaurant Ltd.
Roots
Heather Ross
Ron Rule
Special Thanks
to all Volunteers
Andrea Russell, Shade Design
Samsonite Canada Inc.
Sate
Eric Savics
Schleeh Design Inc.
Claudia Schulenburg, Modern
Domestic Textiles
VANCOUVER ARTS
STABILIZATION TEAM
Julius Shulman
United States Consulate
General
As a successful participant in the
VAST program, the Vancouver Art
Gallery is a grateful recipient of
funding from The Gerald and
Sheahan McGavin Capital Grants
to the Arts.
The Vancouver Art Gallery
gratefully acknowledges the
support of:
Vancouver Aquarium
Marine Science Centre
Richard Vermeulen,
Jewellery Designs
Vij's
Paul Sangha Ltd.
The Volvo Retailers of
Greater Vancouver
Polaris Water Company
W Hotel - Seattle
Portal Design Co.
Wabi Sabi Sushi Bar
Timothy Porteus
Susannah Walker
Provence Mediterranean Grill
Jeff Wall
Matthew Quetton, HOM
Furniture & Design
David Weeks
41
VANCOUVER ART GALLERY FOUNDATION
The Vancouver Art Gallery Foundation was established to build an
endowment fund to support the long term objectives and operations
of the Gallery. We are pleased to recognize the following Vancouver
Art Gallery Foundation supporters:
Contributions of $2,000,000 +
The Audain Curator of British Columbia Art
Audain Foundation
Contributions of $500,000 +
The Christopher Foundation
Mr. George and Mrs. Karen Killy
Jack and Doris Shadbolt Publication Endowment
The Estate of Doris Shadbolt
Contributions of $250,000+
Rix Family Internship Endowment
The Rix Family Foundation
Michael O'Brian Foundation
Gordon and Marion Smith Education Endowment contributors
Mr. Ronald and Mrs. Ardele Cliff
Mr. Gordon and Mrs. Barbara MacDougall
42
VANCOUVER ART GALLERY ASSOCIATION
Financial Statements
Years ended December 31, 2003 and 2002
Auditor’s Report
To the Members of the
Vancouver Art Gallery Association
We have audited the balance sheet of the Vancouver Art Gallery Association as at December 31, 2003 and the statements of operations,
changes in net assets and cash flows for the year then ended. These financial statements are the responsibility of the Association's
management. Our responsibility is to express an opinion on these financial statements based on our audit.
We conducted our audit in accordance with Canadian generally accepted auditing standards. Those standards require that we plan
and perform an audit to obtain reasonable assurance whether the financial statements are free of material misstatement. An audit
includes examining, on a test basis, evidence supporting the amounts and disclosures in the financial statements. An audit also
includes assessing the accounting principles used and significant estimates made by management, as well as evaluating the overall
financial statement presentation.
In our opinion, these financial statements present fairly, in all material respects, the financial position of the Association as at
December 31, 2003 and the results of its operations and its cash flows for the year then ended in accordance with Canadian generally
accepted accounting principles. As required by the Society Act (British Columbia), we report that, in our opinion, these principles
have been applied on a basis consistent with that of the preceding year, after giving retroactive effect to the change in accounting
policy as described in note 2(c) to the financial statements.
signature file required
Chartered Accountants
Vancouver, Canada
February 24, 2004
43
Balance Sheets
December 31, 2003 and 2002
General
Fund
Acquisitions
Fund
Life
Benefactors
Fund
$
$
Vancouver Arts
Stabilization
Team Fund
Total
2003
Total
2002
ASSETS
Current assets:
Cash and cash equivalents
Grants, interest and accounts
receivable
Prepaid expenses
Inventories
Interfund balances
Restricted investments
Capital assets, net (note 4)
$ 917,134
329,479
273,770
337,877
( 904,054 )
954,206
62,776
220
( 2,431 )
60,565
-
$
7,500
7,500
-
$
898,985
898,985
979,910
$
1,610,033
329,699
273,770
337,877
1,921,256
357,161
24,626
288,121
2,279,941
1,413,390
-
-
-
-
361,029
-
-
361,029
345,940
$1,315,235
$
60,565
$
7,500
$
898,985
$
2,282,285
$
4,039,271
$ 478,520
371,595
$
818,885
-
$
-
$
-
$
1,297,405
371,595
$
836,481
555,652
LIABILITIES AND NET ASSETS
Current liabilities:
Accounts payable and accrued
liabilities
Deferred revenue (note 5)
Gerald and Sheahan McGavin
Capital Grant to the Arts (note 6)
Net assets (deficiency):
Invested in capital assets
Unrestricted
Internally restricted
Externally restricted (note 6)
Endowment
850,115
818,885
-
-
361,029
104,091
465,120
$1,315,235
-
( 758,320 )
( 758,320 )
$
60,565
$
See accompanying notes to financial statements.
Approved on behalf of the Board:
44
1,669,000
1,392,133
-
-
719,594
-
Commitments (note 11)
Trustee
-
Trustee
7,500
7,500
$
898,985
898,985
7,500
$
898,985
361,029
104,091
( 758,320 )
898,985
7,500
613,285
$
2,282,285
345,940
119,178
1,454,926
7,500
1,927,544
$
4,039,271
Statements of Operations
General
Fund
Life
Benefactors
Fund
Acquisitions
Fund
Vancouver Arts
Stabilization
Team Fund
Total
2003
Total
2002
REVENUE :
Operational:
Admissions
$
Art auction and special events
Corporate sponsorships
Exhibition loan fees
Fundraising (note 8)
Gallery Store operations (note 7)
Gaming revenue
Investment income (note 3)
Memberships
Other
Public programming
Rentals and restaurant lease
Vancouver Art Gallery Foundation (note 8)
Grants:
BC Arts Council
BC Gaming Commission
Canada Council
City of Vancouver
Department of Canadian Heritage
Department of Foreign Affairs
and International Trade
Greater Vancouver Regional District
Other
980,768
76,170
298,625
50,000
934,525
249,770
34,107
57,091
288,453
74,230
61,847
278,189
21,703
$
471,542
1,321
-
$
7,500
-
$
-
$
980,768
76,170
298,625
50,000
942,025
249,770
34,107
528,633
288,453
75,551
61,847
278,189
21,703
$1,493,774
272,505
353,500
33,000
440,868
496,488
630,663
208,514
84,452
74,648
299,372
12,500
3,405,478
472,863
7,500
-
3,885,841
4,400,284
512,300
45,000
305,000
1,966,975
110,722
52,500
3,351
-
-
512,300
45,000
357,500
1,966,975
114,073
522,300
50,000
377,000
1,910,738
137,038
7,000
217,323
-
-
-
7,000
217,323
21,253
7,000
162,973
3,164,320
55,851
-
-
3,220,171
3,188,302
6,569,798
528,714
7,500
-
7,106,012
7,588,586
540,820
66,008
648,319
1,049,765
1,039,473
1,074,494
1,282,690
868,227
-
2,706,712
35,248
-
7,500
-
540,820
66,008
2,706,712
648,319
1,049,765
1,039,473
1,074,494
1,282,690
868,227
35,248
7,500
519,024
65,653
506,594
605,233
1,054,325
1,453,764
1,070,429
1,256,330
925,232
32,799
-
6,569,796
2,741,960
7,500
-
9,319,256
7,489,383
-
-
( 2,213,244 )
EXPENSES :
Administration and finance
Amortization of capital assets
Art acquisitions
Board and management services
Curatorial and programs
Exhibitions
Maintenance and security
Marketing, development and visitor services
Museum services
Sundry acquisition costs
Transfer to Vancouver Foundation
Excess (deficiency) of revenue over expenses
before the undernoted
2
Vancouver Arts Stabilization Team Grant (note 6)
$
2
( 2,213,246 )
$ ( 2,213,246 )
$
-
898,985
$
898,985
99,203
898,985
$ ( 1,314,259 )
$
99,203
45
Statements of Changes in Net Assets
Balance, beginning of year
Invested
in capital
assets
Unrestricted
Acquisitions
Fund
$345,940
$119,178
$1,454,926
Excess (deficiency) of revenue
over expenses
( 66,008 )
66,010
Life
Benefactors
Fund
$
( 2,213,246 )
Vancouver Arts
Stabilization
Team Fund
7,500
$
-
898,985
Total
2003
Total
2002
$ 1,927,544
$1,828,341
( 1,314,259 )
99,203
Life Benefactors Endowment contribution
-
-
-
7,500
-
7,500
-
Transfer to Vancouver Foundation
-
-
-
( 7,500 )
-
(7,500 )
-
-
-
-
-
7,500
$ 898,985
Net change in investment in capital assets
Balance, end of year
81,097
$361,029
( 81,097 )
$104,091
$ ( 758,320 )
$
$
613,285
$1,927,544
Statements of Cash Flows
2003
2002
Cash provided by (used in):
Operations:
Amortization of capital asssets
Vancouver Arts Stabilization Team Grant
Net change in non-cash operating working capital:
Grants, interest and accounts receivable
Prepaid expenses
Inventories
Accounts payable and accrued liabilities
Deferred revenue
$
Increase (decrease) in cash and cash equivalents
46
( 2,141,807 )
191,805
1,413,390
179,391
( 81,097 )
( 132,099 )
360,000
( 29,150 )
1,511,684
198,751
390,556
1,610,033
$
99,203
65,653
( 35,973 )
(8,579 )
47,602
39,839
( 15,940 )
( 630,123 )
Cash and cash equivalents, beginning of year
$
27,462
( 249,144 )
(49,756 )
460,924
( 184,057 )
Investments and financing:
Decrease (increase) in restricted investments
Gerald and Sheahan McGavin Capital Grant to the Arts (note 6)
Purchase of capital assets
Cash and cash equivalents, end of year
( 1,314,259 )
66,008
(898,985)
979,910
1,219,477
$
1,610,033
Notes to the Financial Statements
1. PURPOSE
OF THE ORGANIZATION :
The Vancouver Art Gallery Association (the “Association”) is a not-forprofit organization incorporated in April 1931 under the Society Act
(British Columbia). Its objectives are to establish and maintain an art
gallery for the perpetual benefit of the City of Vancouver and its citizens.
It is a registered Canadian charity for Canadian income tax purposes.
2. SIGNIFICANT
ACCOUNTING POLICIES :
The preparation of financial statements requires management to make
estimates and assumptions that affect the reported amounts in the
financial statements and the disclosure of contingent assets and liabilities.
Significant areas requiring the use of management estimates include
the determination of the useful lives for amortization of capital assets
and of the liability for employee future benefits. Actual results could
differ from these estimates. Outlined below are those policies considered
significant:
(a) Fund accounting:
These financial statements include the undernoted funds which
are segregated for purposes of carrying on specific activities as
described below.
(i) The General Fund reflects the results of general operations of
the Association.
(ii) The Acquisitions Fund was established with bequests from
donors and receives income earned by The Vancouver Art
Gallery Endowment Fund for Acquisitions of Art administered
by the Vancouver Foundation (note 3).
(iii) The Life Benefactors Endowment Fund was initially established
during 1989 and the income from the Fund is intended to
finance special projects as determined by the Board of
Trustees in consultation with the Life Benefactors.
(iv) The Vancouver Arts Stabilization Team Fund was established
from restricted contributions received from the Gerald and
Sheahan McGavin Capital Grant to the Arts (note 6).
(b) Basis of accounting:
(i) Cash and cash equivalents:
Cash and cash equivalents consist of cash and highly liquid
investments with terms to maturity of three months or less at
the date of inception.
(ii) Prepaid expenses:
Prepaid expenses are comprised primarily of exhibition
expenditures that have been paid by the Association and relate
to exhibitions to be held the following year. Prepaid expenses
also include insurance costs paid during the year, which relate
to the following year.
(iii) Inventories:
Inventories are comprised primarily of books, jewellery, paper
products, gifts, reproductions, and clothing held for sale in
the Gallery Store and are stated at the lower of cost and net
realizable value.
(iv) Restricted investments:
Restricted investments consist of liquid investments with terms
to maturity of twenty-four months or less.
(v) Revenue recognition:
The Association follows the deferral method of accounting
for contributions which include donations, bequests and
government grants. Under this method of accounting, revenue
received which relates to a future period is deferred and
recognized in that subsequent period. Endowment contributions
are recorded as direct increases in net assets.
Exhibition loan fees are recognized as revenue when received,
except for the portion relating to a future period which is
deferred and recognized in that subsequent period.
Unrestricted contributions are recognized as revenue when
received or receivable. Pledged amounts are recorded as
revenue when the amount to be received can be reasonably
estimated, typically when signed pledge forms are received,
and ultimate collection is reasonably assured.
(vi) Capital assets:
Capital assets are recorded at cost and are amortized on a
straight-line basis over the useful life of the asset. The useful
lives of assets are as follows:
Asset
Computers
Equipment
Furniture and building fixtures
Vehicles
Rate
3 - 5 years
3 - 10 years
5 - 25 years
5 years
The Association is responsible for the management of these
assets and enjoys beneficial ownership thereof. Title to the
majority of these assets is vested in the City of Vancouver.
(vii) Pension plan:
The Association maintains a defined contribution plan for its
employees. Pension plan costs for the employees of the
Association are funded annually and charged to operating
expenses. These costs totaled $106,243 during 2003 (2002 $95,305).
(viii)Employee future benefits:
The Association accrues its obligations under employee benefit
plans and the related costs as the underlying services are provided.
47
2. SIGNIFICANT
Under the terms of these endowment funds, the Association receives
investment income earned on the capital. Income of $464,434 (2002 $535,361) from The Vancouver Art Gallery Endowment Fund for
Acquisition of Art has been credited to the Acquisitions Fund. Income
of $36,056 (2002 - $49,327) from the General and Life Benefactors
components of The Vancouver Art Gallery Endowment Fund has been
credited to the General Fund.
ACCOUNTING POLICIES (continued):
(ix) Collection (see note 9):
Additions to the collection are expensed in the year of acquisition.
(x) Donated works of art, materials and services:
The Association receives donated works of art, materials and
services, the value of which is not reflected in these financial
statements as the contributed items would not otherwise be
purchased by the Association.
(c) Change in accounting policy:
The Association has changed its method of recording pledged
amounts. Such revenue, formerly recorded when the pledged
amounts were received, is now being recorded as revenue when
the amount to be received can be reasonably estimated, typically
when signed pledge forms are received, and ultimate collection is
reasonably assured. This change has been applied retroactively but
has no impact on the prior year as no pledges were outstanding at
the prior year end.
4. CAPITAL
2003
2002
Cost
Accumulated
amortization
Net book
value
Net book
value
Computers
$ 168,739
$ 114,607
$ 54,132
Equipment
244,195
148,952
95,243
81,615
Furniture and
building fixtures
291,023
79,971
211,052
199,790
5,702
5,100
602
1,402
$ 709,659
$ 348,630
$361,029
$ 345,940
Vehicles
At December 31, 2003, the Association has recorded $203,434 of
pledges as revenue and accounts receivable. Substantially all such
pledges have been received in 2004.
(d) Comparative figures:
Certain comparative figures have been reclassified to conform with
the financial statement presentation adopted in the current year.
3. ENDOWMENT
FUNDS :
Endowment funds, administered by the Vancouver Foundation, are
permanently restricted and consequently not included as assets of the
Association in these financial statements. These funds at book and
market values comprise:
The Vancouver Art Gallery
Endowment Fund for
Acquisitions of Art
2003
2002
$ 5,505,200
$ 5,505,200
The Vancouver Art Gallery Endowment Fund:
General
Life Benefactors
Book value
Market value
48
201,164
357,500
558,664
$ 6,063,864
$ 8,827,803
201,164
350,000
551,164
$ 6,056,364
$ 8,591,192
ASSETS :
5.
$
63,133
DEFERRED REVENUE :
2003
Canada Council Grant
City of Vancouver
Corporate sponsors
Department of Canadian Heritage
Exhibition loan fees
Membership
Other
Private foundations and trusts
6. GERALD
2002
$
89,750
20,807
70,500
59,944
15,000
19,739
94,355
1,500
$
88,750
37,682
74,625
106,716
15,000
29,880
65,745
137,254
$
371,595
$
555,652
AND SHEAHAN MC GAVIN CAPITAL GRANT TO THE ARTS :
Under a five year agreement with the Vancouver Arts Stabilization
Team (VAST) dated February 25, 1998, the Association was entitled to
receive a grant of $179,797 each year for a five year period. These
instalments were provided contingent on the Association maintaining
net working capital equal to or exceeding the aggregate grant amount
advanced to date and not showing an accumulated deficit on the
balance sheet at the year end.
As at December 31, 2003, the total grant has been received by the
Association. In accordance with direction received from VAST, and
based on a resolution passed by the Association Board, the
Association has restricted the $898,985 for a period of three years to
be used as a working capital reserve.
7. GALLERY
STORE OPERATIONS :
Sales
Cost of goods sold
Expenses:
Advertising
Audit fees
Credit card commissions
Fixtures
Miscellaneous
Salaries and employee benefits
Satellite shop
Travel
Excess of revenue over
expenses from operations
8. RELATED
9. COLLECTION :
2003
2002
$1,526,415
843,867
$1,964,632
1,038,587
682,548
926,045
4,834
4,996
21,206
4,338
31,870
356,489
5,336
3,709
3,819
4,712
20,199
11,040
13,580
361,460
8,204
6,543
432,778
429,557
$ 249,770
$ 496,488
The Association is responsible for the management of the Vancouver
Art Gallery collection and fine arts reference library. The collection
comprises paintings, drawings, sculptures, photography, prints and
other visual art materials. Ownership of the collection is vested in the
City of Vancouver.
10. FINANCIAL
INSTRUMENTS :
Financial instruments of the Association are comprised of cash and
cash equivalents, grants, interest and accounts receivable and
accounts payable and accrued liabilities. The carrying value of the
Association's financial instruments approximate their fair value due to
their ability for prompt liquidation or settlement in the near term.
11. COMMITMENTS :
The Association is committed to minimum lease payments on an
operating lease for the years ending December 31 as follows:
PARTIES :
(a) Vancouver Art Gallery Foundation:
The Vancouver Art Gallery Foundation (the “Foundation”) was
incorporated in March 1998 under the Society Act (British Columbia)
and is a registered charity under the Income Tax Act. Its purpose is
to receive, hold and invest bequests, donations, gifts, funds, and
property, the income from which supports the programs, operations
and activities of the Association. The Association’s Board of Trustees
appoints the Board of Directors of the Foundation.
2004
2005
2006
2007
2008
$ 16,585
16,585
16,585
1,650
-
The Foundation has not been consolidated in the Association’s
financial statements. During the year, the Foundation donated
$21,703 (2002 - $12,500) to the Association, of which $14,600 is
included in accounts receivable at December 31, 2003 and was
received subsequent to year end. The Foundation maintains
endowment funds, which are permanently held and administered
by the Vancouver Foundation, and receives interest income on
these funds. The balance of these funds at December 31, 2003 is
$1,197,000.
(b) Associates of the Vancouver Art Gallery:
The Associates of the Vancouver Art Gallery (the “Associates”) are
devoted to raising funds for the Association through social,
educational and service enterprises. During the year, the
Associates donated $54,989 (2002 - $75,000) to the Association.
49
Board of Trustees
EXECUTIVE
ELECTIVE TRUSTEES TO SERVE TO 2005
Board Chair: George Killy
Christos Dikeakos
Past Board Chair & Chair,
Governance/Nominations:
Merla Beckerman
Kitty Heller
Secretary: Kitty Heller
Chair, Acquisitions: Christos Dikeakos
Chair, Finance & Audit: Peter Speer
Member at Large: Timothy Porteous
ELECTIVE TRUSTEES TO SERVE TO 2004
Rick Charles
Barbara Gillanders
George Killy
Timothy Porteous
Eric Savics
Audrey Sojonky
Peter Speer
Judy Kerr
Sam Ketcham
Sherry Killam
Michael O’Brian
Grace Robin
Peter Wong
APPOINTIVE TRUSTEES TO SERVE TO 2004
Barbara Cole
Michael Geller
Kevin Leslie
Donna Serviss
Ron Yuen
ASSOCIATES REPRESENTATIVE
Gloria Smith
From left to right:
Audrey Sojonky, Christos Dikeakos, Kathleen Bartels, George Killy
Peter Wong, Sherry Killam, Barbara Gillanders, Gloria Smith
Sam Ketcham, Peter Speer, Grace Robin, Donna Serviss, Timothy Porteous
Michael O’Brian, Merla Beckerman, Judy Kerr, Barbara Cole
Rick Charles, Chris Wootten, Michael Geller, Daina Augaitis, Kevin Leslie
50
Staff Directory
at December 2003
ADMINISTRATION
Kathleen Bartels, Director
Chris Wootten, Associate Director
Liz Massil, Administrative Assistant
Kimberley Simms,
Manager of Human Resources
Lynda Wigmore,
Accounting Administrator (p/t)
Lori McLeod,
Payroll and Benefits Clerk (p/t)
Cruella Deville, Accounting Clerk (p/t)
Darcy Morrisseau,
Accounting Clerk (p/t)
Layne Kirkpatrick,
Network Administrator
AUDIO/VISUAL / GRAPHICS
Wade Thomas,
Audio Visual Technician III (interim)
Deborah Burns,
Media Arts Technician (p/t)
BUILDING MAINTENANCE
Clarence Lafortune,
Head of Building & Maintenance
Gary Grewal, Stationary Engineer I
Manuel Pacheco,
Building Services Worker
Nancy Naidu, Building Cleaner (p/t)
Sami Gopal,
Building Maintenance Worker (p/t)
Ian Thom, Senior Curator-Historical (p/t)
Grant Arnold, Curator
Melanie O’Brian,
Assistant Curator (temp p/t))
Leah Best, Assistant Curator ‘A’
Deanna Ferguson,
Curatorial Assistant (temp p/t)
Laura Epp, Clerk Typist III
CONSERVATION
Monica Smith, Conservator
Emilie O’Brien,
Conservation Assistant (temp p/t)
DEVELOPMENT
Vacant, Development Director
Beth Ann Locke, Manager of Individual
Giving and Membership
Emma Starritt, Corporate Development
and Foundations Specialist
Betty Hum, Event Specialist
Cecilia Pereyra, Database Coordinator
Jessica Bouchard,
Membership Coordinator
Daria Sidjak, Development Associate
GALLERY STORE
Stephanie Yada, Gallery Store Manager
Sharon Young, Assistant Store Manager
Jordan Strom, Store Assistant (p/t)
George Febiger, Store Assistant (p/t)
Chad Yelenik, Store Assistant (p/t)
Laura Chiarenza, Store Assistant (p/t)
CURATORIAL
Daina Augaitis,
Chief Curator/Associate Director
Erica Krahn, Store Assistant (p/t)
Suzana Barton, Store Assistant (p/t)
Angela Mah, Administrative Assistant
Bruce Grenville, Senior Curator
51
LIBRARY
PUBLIC PROGRAMS
Cheryl Siegel, Librarian
Lynn Brockington, Librarian (j/s)
Marie Lopes,
Acting Head of Public Programs
Joanna Spurling, Library Assistant (p/t)
Amy Ward, Programming Assistant
MARKETING
Susan Rome,
Coordinator: Family and Youth Programs
Diane Robinson,
Head of Marketing and Communications
Colette Warburton,
Marketing and Promotions Manager
Julie-Ann Backhouse,
Communications Specialist
Vacant, Marketing Coordinator
Robin Naiman, Rental Coordinator
MUSEUM SERVICES
Jacqueline Gijssen,
Head of Museum Services
Liz Bruchet, Curatorial Assistant (temp p/t)
PHOTO IMAGING
Trevor Mills, Photographer II
Danielle Currie,
Rights and Reproductions Coordinator (p/t)
Tim Bonham, Photographer I (temp p/t)
PREPARATION
Susan Hoppenfeld,
Coordinator: Family and Youth Programs
Sean George, Senior Animateur (p/t)
Anita Bidinosti, Senior Animateur (p/t)
Cindy Maines, Coordinator of Volunteers
Jacqueline Robins,
Group Booking Assistant (temp p/t)
REGISTRATION
Susan Sirovyak, Registrar – Collections
Jenny Wilson,
Registrar – Exhibitions and Loans
Bita Vorell,
Assistant Registrar, Documentation (p/t)
Kim Svendsen,
Registration Assistant (temp p/t)
RECEPTION
Sherrin Einmann, Receptionist
Tory McDonald, Relief Receptionist (p/t)
Glen Flanderka, Senior Preparator III
Bruce Wiedrick, Senior Preparator III
Keith Mitchell, Preparator II
Michael Trevillion, Preparator II
SECURITY / VISITOR SERVICES
Tom Meighan,
Security/Visitor Services Manager
Paula O’Keefe, Preparator II
Hilton Goodes,
Assistant Security Supervisor
Dwight Koss, Preparator II (p/t)
Kulvinder Lehal, Admissions Clerk (p/t)
Beth Oliver, Admissions Clerk (p/t)
Diane Atkinstall, Security Attendant (p/t)
The following list includes the names of
people who contributed to the Vancouver
Art Gallery in 2003 through their work in
contract or temporary positions, as well
as other regular employees who left the
Gallery during 2003.
Geoellen Anderson
Lori Bagneres
Jodine Baluk
Lindsay Belloc
Dafne Blanco
Kathy Bond
Sherrard Bostwick
Christine Bourquin
Jennifer Browning
Derek Brunen
Amanda Burke
Leslie Carroll
Cissy Chan
Yang Chang
Andrea Corno
Joanne Digeso
Mary Ellen Fisher
Chris Frey
Laurryn Gerzymisch
Christine Giesbrecht
Sally Gregson
Rory Gylander
Janine Haddix
Pantea Haghighi
Jennifer Harrison
Linda Henningson
Karen Henry
Catherine Holdaway
Heather Howe
Yoonhee Jahng
Ana Johnson
Hilary Johnston
Eileen Kage
Greg Kent
Erica Krahn
Jean Kwan
Gretchen Ladd
S. Khan Lee
Simon Levin
Martin Lightstore
Kristin Linklater
Andrew McCord
Lori McGillivray
John McIntosh
Robert McNealy
Stephanie McWilliams
Tara Meier
Cheryl Meszaros
Dorothy Milne
Fiona Mowatt
Paul Murray
Miriam Neeboda
Louise Perrone
Maureen Powell
Caren Reynolds
Alexandra Rippert
Helen Royblat
Matthew Schum
Liz Scully
Andre Seow
Jacqueline Simpson
Fiona Sinclair
Matthew Smith
Mark Soo
Emma Starritt
David Steiner
Cheryl Stevens
Sherry Stewart
Mary Stodola
Tom Svab
Heidi Swierenga
Amanda Szabo
Nadia Thibault
Emily Weekes
Laura Williams
Gwen Wing
Steve Wood
Geraldine York
750 Hornby St.
Vancouver, BC
V6Z 2H7
24-hour infoline 604.662.4719
www.vanartgallery.bc.ca
52

2003 - Vancouver Art Gallery

Transcription

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