Mathematical patterns of Nakamura's Number Structure II

Whether you are of a mind to visit an exhibit that documents a Jewish photographer’s view of a World War II Polish ghetto or one that shows how shoes reflect culture and history, Toronto’s museums are bound to enlighten.

Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s culinary history offers an opportunity to liberate the museum from prescriptive theoretical models which are not anchored in institutional realities; these hide aspects of gender and class which become visible through food narratives.KeywordsArt museum restaurants, culinary programming, women’s committees, multisensorial museums, Art Gallery of Ontario

Joyce Wieland: À coeur battant; Joyce Wieland: Heart On. Musée des beaux-arts de Montréal and Art Gallery of Ontario. February 8 – May 4, 2025; June 21, 2025 – January 4, 2026. Curated by Anne Grace (Montreal Museum of Fine Art) and Georgiana Uhlyarik (Art Gallery of Ontario). Un article de la revue Archivaria (Legacies of Critical Theory in Archives) diffusée par la plateforme Érudit.

Over the dozen or so years of its existence the Artist in Residence (AiR) program at the Art Gallery of Ontario (AGO) has brought numerous emerging and established artists into the daily workings of the museum, inviting resident artists to explore and engage with the AGO’s collections, staff and public programs as they develop their projects. Support for a process of research-creation is fundamental to the opportunity offered by the residency. As a foundational component of the museum’s research infrastructure, the AGO’s Edward P. Taylor Library & Archives has played a key role in the residency program, allowing strategies of reading, citation and documentation to emerge as central themes in the cumulative body of residency projects, and allowing in turn for the possibility of project documentation to enter the archival record of the museum. Drawing on interviews with selected past artists in residence, this paper will provide an account of how the involvement of librarians and archivists, and the availability of library and archival resources in the museum have shaped the trajectory of the AiR program at the AGO.

Canadian art galleries have long been criticized for their poor inclusion of First Nations art, especially historical works. In November 2008, the Art Gallery of Ontario (AGO) opened new Canadian art gallery halls, with 2,000 new acquisitions donated by Ken Thomson. The AGO hired Gerald McMaster, who has tried to make historical First Nations art a key element of the story of Canadian art, as its first Aboriginal curator of the AGO’s Canadian art department. This article reviews several historical events, and the politics and discourse of the representation of First Nations art at the AGO, to examine the success of this new venture, especially in terms of its public appeal.

Canadian Catalogues and Monographs of the Avant-Garde, 1989-1995 / ELDER, R. Bruce. The Body in Film. Toronto : Art Gallery of Ontario, 1989, 56 p. / JONASSON, Catherine (editor). Richard Hancox. Toronto : Art Gallery of Ontario, 1990, 48 p. / RICHMOND, Cindy (editor and curator). Richard Kerr : Overlapping Entries, with an essay by Bart Testa. Regina, Saskatchewan : MacKenzie Art Gallery, 1994, 54 p. / SHEDDEN, Jim (editor). David Rimmer : Films and Tapes 1967-1993, with an essay by Catherine Russell. Toronto : Art Gallery of Ontario, 1994, 96 p. / SHEDDEN, Jim (editor). Presence and Absence : The Films of Michael Snow, 1956-1991 (The Michael Snow Project). Toronto : Art Gallery of Ontario/Alfred A. Knopf Canada, 1995, 256 p.. Un article de la revue Cinémas (La Représentation du corps au cinéma) diffusée par la plateforme Érudit.

This paper describes the evolution and results of a technical study that focused initially on the Thomson Collection of miniature boxwood carvings at the Art Gallery of Ontario (AGO). This work eventually became the AGO’s impetus for its participation in an international exhibit “Small Wonders,” organized with the Rijksmuseum and the Metropolitan Museum of Art. The technical work on early sixteenth century miniature boxwood carvings, which includes both prayer beads and miniature altarpieces, started with X-radiography at the Royal Ontario Museum, followed with in-house photography using a cutting edge but now somewhat more common specialized macro set-up, and ultimately micro-computed tomography (CT) scanning, or high-resolution X-ray micro-computed tomography at Sustainable Archaeology, Western University, London Ontario and Advanced 3D Analysis software (ORS) at the AGO. Secondary digital files were used in “Small Wonders: the VR Experience,” wherein users could enter into a dramatically magnified virtual prayer bead. Scientific analysis of a selection of the artifacts’ coatings, polychromy and adhesives was undertaken by the Canadian Conservation Institute using Fourier transform infrared spectroscopy (FTIR); scanning electron microscopy-energy dispersive spectrometry (SEM-EDS); thermal desorption-gas chromatography-mass spectrometry (TD-GC-MS); and Raman spectroscopy.

This applied thesis examines three albums created by US Army Air Force personnel Robert C. Kraut from 1945-46. The albums were donated by Toronto based artist Max Dean to the Art Gallery of Ontario (AGO), and serve as a case study for the process of cataloguing and contextualizing albums for future researchers and museum staff. This paper includes a literature survey examining care and handling, social and historical evolutions, and cataloguing practices related to both photographic albums and scrapbooks. An historical analysis of the photographic album as a medium, vernacular photography and the donation process of the albums into the AGO's collection follows. A detailed analysis of the narrative, material orientation, annotation, layout and materiality qualities for each album is included. A cataloguing methodology that both accounts for the albums’ unique layouts and holds to the established conventions for cataloguing albums at the AGO is discussed and described in detail.

This applied thesis examines three albums created by US Army Air Force personnel Robert C. Kraut from 1945-46. The albums were donated by Toronto based artist Max Dean to the Art Gallery of Ontario (AGO), and serve as a case study for the process of cataloguing and contextualizing albums for future researchers and museum staff. This paper includes a literature survey examining care and handling, social and historical evolutions, and cataloguing practices related to both photographic albums and scrapbooks. An historical analysis of the photographic album as a medium, vernacular photography and the donation process of the albums into the AGO's collection follows. A detailed analysis of the narrative, material orientation, annotation, layout and materiality qualities for each album is included. A cataloguing methodology that both accounts for the albums’ unique layouts and holds to the established conventions for cataloguing albums at the AGO is discussed and described in detail.

Shaking the Foundations, Recent Audience Research at the Art Gallery of Ontario may sound quite dramatic, and in many ways it is. However, in a highly conservative and change-resistant organization, such as an art museum, shaking foundations is not as hard to do as it might seem. It simply involves seeking answers to somc fairly obvious, but all too seldom asked, questions. A sampling of thcsc are: What do visitors to an art museum cxpcct from their visit? How do visitors react when they confront a room full of traditional landscape paintings; or a room full of Abstract Expressionist paintings; or an installation of Renaissance altarpieces? . Is anything of the cultural significance of our collections communicated through an art museum experience? Do aesthetic really exist-and, if so, what are they? . Can anything be done to improve the quality of visitor experiences of an art museum?

<p>This thesis uses Toronto artist Max Dean's performance Max Dean: Album, produced in conjunction with the Art Gallery of Ontario, as a case study to investigate the complex issues involved in the display and recirculation of private family albums in the public space of the art gallery.</p> <p>A survey of the critical literature that addresses the placement of vernacularobjects such as family albums and snapshots in the art gallery functions as a preamble to a series of interviews done with scholars, academics and curators in the fields of photography and art history. Drawing on the results of these interviews, this paper examines the challenges that arise when family albums are publicly displayed and exhibited. Terry Barrett's methodology of investigating the context of photographs is considered and applied to family albums and to Dean's Album project, analyzing how his public performance provides a creative solution to the issues raised. </p>

<p>This thesis uses Toronto artist Max Dean's performance Max Dean: Album, produced in conjunction with the Art Gallery of Ontario, as a case study to investigate the complex issues involved in the display and recirculation of private family albums in the public space of the art gallery.</p> <p>A survey of the critical literature that addresses the placement of vernacularobjects such as family albums and snapshots in the art gallery functions as a preamble to a series of interviews done with scholars, academics and curators in the fields of photography and art history. Drawing on the results of these interviews, this paper examines the challenges that arise when family albums are publicly displayed and exhibited. Terry Barrett's methodology of investigating the context of photographs is considered and applied to family albums and to Dean's Album project, analyzing how his public performance provides a creative solution to the issues raised. </p>

Photographic Retouching investigates the mediatory work of the news picture editor during the 1930s. It considers what retouched press photographs add to the history of modern photojournalism, and offers a re-examination of the historiography of 1930s press photography. A descriptive analysis of sixteen representative, retouched photographs from the Art Gallery Of Ontario (AGO) British Press Agencies Collection (BPAC) and ten corresponding newspaper and magazine page spreads from the Daily Mirror, the Sunday Dispatch and Life is carried out in conjecture with press photography manuals published between the years 1930 and 1939. A literature survey, methodology section and description of the BPAC provide introductory contextual and historical information. Chapters 4 and 5, the main analytical sections, focus on two aspects of retouching: the technical difficulties that afflicted press photography during the 1930s and how retouching was employed as a corrective tool; and the ways in which retouching was utilized to strengthen and improve upon the photograph’s ability to consistently convey a clear and visually efficient narrative for use by the press.

This thesis presents the applied project of housing, intellectually arranging and creating a finding aid for the Schostal Agency collection at the Art Gallery of Ontario (AGO). This collection includes 5,066 gelatin silver prints, 58 information sheets, and 34 photograph envelopes dating from the late 1920s to mid 1940s. The paper is structured in two parts: 1) an analytical paper, and 2) the finding aid. Part one investigates the historical context of the Schostal Agency, finding aids and collections management practices, as well as the methodology for organizing, housing, and creating the finding aid. Part two is the finding aid, which includes a descriptive summary, administrative information, scope and content of the collection, biographies and historical sketches, box lists, and a summary box list tracing the collection as a whole. This document will be made available to researchers in the Marvin Gelber Print and Drawing Study Centre at the AGO.

Photographic Retouching investigates the mediatory work of the news picture editor during the 1930s. It considers what retouched press photographs add to the history of modern photojournalism, and offers a re-examination of the historiography of 1930s press photography. A descriptive analysis of sixteen representative, retouched photographs from the Art Gallery Of Ontario (AGO) British Press Agencies Collection (BPAC) and ten corresponding newspaper and magazine page spreads from the Daily Mirror, the Sunday Dispatch and Life is carried out in conjecture with press photography manuals published between the years 1930 and 1939. A literature survey, methodology section and description of the BPAC provide introductory contextual and historical information. Chapters 4 and 5, the main analytical sections, focus on two aspects of retouching: the technical difficulties that afflicted press photography during the 1930s and how retouching was employed as a corrective tool; and the ways in which retouching was utilized to strengthen and improve upon the photograph’s ability to consistently convey a clear and visually efficient narrative for use by the press.