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BA (York), PDA (Edinburgh College of Art)
Michael Davey is a sculptor and installation artist who employs photography, drawing and video and whose work often includes cast materials and found objects. His interests in landscape, industrial technology and the built environment find their way into his pieces which have been shown and collected throughout Canada, the U.S. and overseas. His most recent initiative is the establishment of M9 Contemporary Art Centre on the Bruce Peninsula, Ontario where he exhibits along with guest artists on an annual basis.
Selected Solo Exhibitions
|1998||“I couldn’t contain myself”: Notes from the future edge||University of Toronto Art Centre,
|1997||Floater||Red Head Gallery,
|1995||Overly Charmed||Dunlop Public Art Gallery,
|1995||The Staples series||Innis College,
University of Toronto,
|1994||Overly Charmed||Costin and Klintworth Gallery,
|1992||Ex-Voto||Costin and Klintworth Gallery,
|1988||Sculpture||Forest City Gallery,
- Art Bank of Canada, Ottawa
- Damma Incorporated
- First Marathon Securities
- Guild Electric
- Art Gallery of Hamilton
- Rogers, Bereskin and Parr Barrs.
- Royal Bank of Canada
- Scottish Arts Council Edinburgh, Scotland
- Scottish Museum of Modern Art, Edinburgh
- Toronto Dominion Bank
- Tory, Tory, Deslauriers and Binnington Barrs.
- Wadsworth Atheneum, Hartford, Connecticut, USA
- Windsor Art Gallery
- York University
BA, MA (Toronto)
An art historian, curator, cultural policy specialist and academic administrator, Joyce Zemans served as dean of the Faculty of Fine Arts (1985-88), acting director of the Graduate Program in Art History (1994-95) and chair of the Department of Visual Arts Department (1975-81) at York University.
She also held the Robarts Chair in Canadian Studies (1995-96) and was acting director of the MBA Program in Non-Profit Management and Leadership (2000-01). She currently directs the MBA Program in Arts and Media Administration in the Schulich School of Business at York.
Professor Zemans served as director of the Canada Council for the Arts from 1988 to 1992. She holds honorary doctorates from the University of Waterloo and the Nova Scotia of Art and Design and is an Honorary Fellow of the Ontario College of Art and Design.
Joyce Zemans was appointed a member of the Order of Canada in 2002 in recognition of her contributions to Canadian arts and culture. In 2010, she was chosen to receive The Canadian Conference of the Arts’ Diplôme d’honneur for sustained contribution to the cultural life of the country.
Professor Zemans currently serves on the board of the Institute for Studies in Canadian Art at Concordia University and of the Advisory Boards of the Toronto Arts Council, the Creative Trust, the Magnetic North Theatre Festival and the Asia Pacific Journal of Arts and Cultural Management.
Among her other activities, she is a member of the Culture and Communications Committee of Canadian Commission for UNESCO and of the steering group for the Centre of Expertise on Culture and Communities, for the Creative City Network of Canada. Previously she has served as president of the Laidlaw Foundation, as a member of the Prime Minister’s Canada-Japan Forum, a member of the Department of Canadian Heritage’s Expert Advisory Committee on the Convention on Cultural Diversity, and a member of the Japan – U.S. Comparative Cultural Policy Project (U.C.L.A.): Cultural Policy Advisory Committee.
Professor Zemans’ research focuses on art history and cultural policy with specific reference to the Canadian experience and international comparative cultural policy.
Her publications include Museums after Modernism, Strategies of Engagement, co-editor with Griselda Pollock (Blackwell, 2007); Making Change: A History of the Laidlaw Foundation, co-editor with Nathan Gilbert (ECW Press, Toronto, 2001); The Revenants: Long Shadows: The Paintings of Tony Urquhart (University of Waterloo Art Gallery, 2002); Art Gallery Handbook III, editor (Ontario Association of Art Galleries, 2001); Comparing Cultural Policy: A Study of Japan and the United States, co-editor with Archie Kleingartner (Sage Press, 1999); Where is Here? Canadian Cultural Policy in a Globalized Environment (Robarts Centre, York University, l997); New Perspectives on Modernism in Canada: Kathleen Munn & Edna Tacon (Art Gallery of York University, Toronto, 1988);Jock Macdonald (National Gallery of Canada, Ottawa, 1985); Christopher Pratt(Vancouver Art Gallery, 1985); J.W.G. Macdonald: The Inner Landscape (Art Gallery of Ontario, 1981).
Book chapters include: “The History of Abstract Painting in English Canada”, in 20th Century Art in Canada, Oxford ( 2007); “What the Group of Seven would Say” (2000) and “Establishing the Canon: Nationhood Identity and the National Gallery’s First Reproduction Program of Canadian art” (1995) inBeyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art (McGill Queen’s Press, 2007); “One Hundred Musicians: Youth Arts Policy in Canada,” in Robin Wright, ed. Publication on youth arts (Wilfrid Laurier Press, 2007); “Considering the Canon” in Choice Matters(Art Gallery of Hamilton, 2005); “First Fruits: The Paintings” in Bertram Brooker and Emergent Modernism (Provincial Essays, Vol. 7, 1989); “Varley, An Appreciation” in Fred Varley (Key Porter Press, Toronto, l997).
B.S. (Central Michigan), M.F.A. (Oregon)
Tim Whiten has exhibited his work in major exhibitions of drawing and sculpture throughout North America and Asia. He is represented in numerous private, corporate and public collections, including Canada’s National Gallery and the Art Gallery of Ontario.
A former student of noted psychologist and philosopher Oscar Oppenheimer, Professor Whiten, in his artistic activity and personal study, reflects the ecumenical interests demonstrated by his mentor. His concern for man’s place in the scheme of things has provided motivation for his investigations of the traditional ideas of man as expressed in culture.
Professor Whiten was the recipient of the 1999/2000 Faculty of Fine Arts Dean’s Teaching Award.
A professional photographer whose work has been exhibited in more than 300 solo and group shows, Professor Semak received his technical training in photography with Canadian Kodak. His photographs have garnered many awards in Canada, the U.S. and Europe, including the Gold Medal for a solo exhibition and book on Ghana produced by the National Film Board of Canada, two Awards for Excellence in Photo Journalism given by Pravda, and an Excellence F.I.A.P. (Switzerland) Diploma.
Michael Semak’s photographs are found in many private and public collections, among them the National Film Board and the National Gallery of Canada, George Eastman House, the Museum of Modern Art in New York, and the Public Archives of Canada.
BA (Harvard), MA (Michigan)
Richard Perry is an authority on the art history of India, China and Japan from early to modern times, with special emphasis on the religions informing these art traditions. For some three decades, he has also published reviews of classical music concerts and recordings for numerous North American journals.