Artist's Sketch

An artist's sketch of what the Physical Education Building was to look like.

Charting the territory : how female artist/teachers balance their artistic practice with their institutional responsibilities as teachers /

This r\.~et.lrch examined ho\\' ~ight \\'omen artists \\'ho t~ach at the uni versity and college level, balance thcir artistic practic~ and their institu tional responsibilities as tcachers. This thesis reprt.~ents the culmination of \\'ork for my second graduate degree. For my first degrCt! on th~ grad uat~ level, I concentratoo on d~veloping my artistic practice. This ~Iaster's Degree in Education is no k~ important to m~. In pursuing studies in the field of education I \\'anted to understand my rol~ as both an educator and an artist and in the process I uncovered the interplay of race, class, and gender at \\'ork in th~ classroom. Coming from a \\'orking-class, immigrant background \\'here higher education \vas vie\\'cd as a stepping stone that \"ould enable my siblings and me a greater spectrum of opportunities, I \\'as at last able to understand my o\\'n educational experiences, more clearly. I discovered ho\\' d\.~ply I internalized the racism, sexism and class discrimination, I submitted to in my history as a student. Becoming a\\'are about the social forc\.~ at "'ork \\'ithin my day to day life has provided me \\'ith instruments \\'hich I can usc to examine and respond to these inequities as I confront them in th~ future. This \,'ork exists as a serk'S of responses and further av~nues for investigation on some themes I first began to explor~, albeit very tentati\'~ly, during my first incarnation as a graduate student and so though the h\'o bound volum~s rna-\' one da.v sit si.d~ b\' s id~ on the bookshelf, th~\-' exist in the context of my life as a set of brackets surrounding a series of qUl'Stions about being a \\'Onlan, a teachcr and an artist.

Creativity and the working artist/teacher : the relationships

The purpose of this qualitative study was to understand the relationships between creativity and the working artist/teacher employed by an art college. The topic emerged from my job as an instructor at The Ontario College of Art which was used as the primary data resource and provided the highest caliber of professionals to chose from. Existent data were used to facilitate the study generated by the research of Cawelti, Rappaport, and Wood (1992). The data were generated by a group of 5 faculty members from The University of Northern Iowa, recognized for their expertise in the arts (a painter, a poet, a sculptor, a novelist, and a photographer). They were asked to respond to the following statement: "In as much detail as you like, list the things that you did, thought, or felt the last time you created an artistic product. II Cawelti, Rappaport, and Wood (1992) produced three models of the creative process, each building on the previous, with the resultant third,being in my opinion, an excellent illustration (text/visual) of the creative process. Model three (Appendix D) presented a "multi-dimensional view of the creative process: time, space, observatility, and consciousnessll (p. 90). Model three utilized a visual mapping device along the bottom of the page linked to text segments above. Both the visual and the text were interrelated so that they harmonized into a comprehensive "picture." The parti'cipants of this qualitative study were asked to consider model three from their professional perspective as artist/teachers. The interpretive sciences directed the methodology. The hermeneutic circle of continuous reflection from the whole to the part and back to the whole was an important aspect of the data analyses. Four members of the Foundation Department at The Ontario College of Art were the key participants. A series of conversational interviews was the primary source of data collection, this was augmented by observation, fie,ldnotes, and follow up telephone interviews. Transcripts of interviews were returned to participants for reflection and the telephone was used to discuss any additional -points raised. Analysis consisted of coding and organizing data according to emerging themes. These themes formed the basis for the narrative stories. The text of the narrative stories were given back to each participant for further comment. Revisions were made until both the researcher and the participants felt that the stories reflected reality. The resultant whole was critiqued from the researcher's perspective. The significance of this study was discussed as it pertains to the working artist/teacher and areas in need of further study are pointed out.

William Hand Manufacturer of Fire-works, Pyrotechnic Artist Advertisement

An advertisement addressed to the "celebration committees" for May 24th and July 1st. William Hand details his services for fireworks and other lighting. Price ranges are included and reviews/comments quoted from several newspapers.

Postsecondary Artist Teachers' Responses to Computer Technology in Their Drawing Pedagogy

While the influence of computer technology has been widely studied in a variety of contexts, the drawing teaching studio is a particularly interesting context because of the juxtaposition of traditional medium and computer technology. For this study, 5 Canadian postsecondary teachers engaged in a 2-round Delphi interview process to discuss their responses to computer technology on their drawing pedagogy. Data sources included transcribed interviews. Findings indicated that artist teachers are both cautious to embrace and curious to explore appropriate use of computer technology on their drawing pedagogy. Artist teachers are both critical and optimistic about the influence of computer technology.

President's Portrait

On Tuesday, February 10th, 1970, Chairman of the Board, D. Whiting Lathrop presented a portrait of Dr. Gibson to the University. The plaque reads: Dr. James A. Gibson First President and Vice Chancellor of Brock University by Ian Henderson Artist in Residence 1969-1970 Presented to the University by the Board of Governors February 1970 The portrait hung in Dr. Gibson's waiting room until the end of his presidency where it was relocated to H-Block in MacKenzie Chown.

Righteous sounds and reproductive justice : the influence of Ani DiFranco's music for reproductive rights activists

In this thesis, I explore how the folk-rock music of Ani DiFranco has influenced the activist commitments, sensibilities, and activities of reproductive rights activists. My interest in the relation of popular music to social movements is informed by the work of Simon Frith (1987, 1996a, 1996b), Rob Rosenthal (2001), and Ann Savage (2003). Frith argues that popular music is an important contributor to personal identity and the ways that listeners see the world. Savage (2003) writes that fans develop a unique relationship with feminist/political music, and Rosenthal (2001) argues that popular music can be an important factor in building social movements. I use these arguments to ask what the influence of Ani DiFranco's music has been for reproductive rights activists who are her fans. I conducted in-depth interviews with ten reproductive rights activists who are fans of Ani DiFranco's music. All ten are women in their twenties and thirties living in Ontario or New York. Each has been listening to DiFranco's music for between two and fifteen years, and has considered herself a reproductive rights activist for between eighteen months and twenty years. I examine these women's narratives of their relationships with Ani DiFranco's music and their activist experience through the interconnected lenses of identity, consciousness, and practice. Listening to Ani DiFranco's music affects the fluid ways these women understand their identities as women, as feminists, and in solidarity with others. I draw on Freire's (1970) understanding of conscientization to consider the role that Ani's music has played in heightening women's awareness about reproductive rights issues. The feeling of solidarity with other (both real and perceived) activist fans gives them more confidence that they can make a difference in overcoming social injustice. They believe that Ani's music encourages productive anger, which in turn fuels their passion to take action to make change. Women use Ani's music deliberately for energy and encouragement in their continued activism, and find that it continues to resonate with their evolving identities as women, feminists, and activists. My study builds on those of Rosenthal (2001) and Savage (2003) by focusing on one artist and activists in one social movement. The characteristics of Ani DiFranco, her fan base, and the reproductive rights movement allow new understanding of the ways that female fans who are members of a female-dominated feminist movement interact with the music of a popular independent female artist.

Sinister creativity: a phenomenological exploration of some of the experiences and perceptions of six lefthanded visual artists

Six lefthanded artist-educators were interviewed to attempt to discover any patterns t6 their perceptions and experiences. Artists have their own culture and priorities. According to the literature, lefthanded people appear more likely to suffer from dyslexia, allergies, asthma and other auto-immune diseases as well as machinery and equipment injuries. Patterns emerging suggested that lefthanded people indeed suffer more from dyslexia. More startling was the distinct possibility that many artists have traumatic childhood histories. This would commonly include negative school experiences, and for a significant number sexual assault, perceived or actual abandonment by parents, and/or consistently low selfesteem. The researcher discovered possible reasons why creative people frequently have problems at school, why they tend to be rebellious and anti-establishment oriented, how many of them perceive societal rules, and why they are more likely to be lefthanded. These characteristics all have significant implications for art school administrators.

Creativity and the schizophrenia spectrum unveiled : the similarities and the differences

This study examined the commonalities and the differences between creativity and the schizophrenia spectrum. The variables measured as potential commonalities and differences were creativity, schizotypy, cognitive inhibition, spatial ability, balancing skills, positive and negative presence, absorption, mystical experiences, childhood abuse, and neuroticism. Three community groups were recruited, consisting of 31 artists, 10 people with schizophrenia, and 31 comparisons matched for gender and age with the artists. A larger student group consisting of 102 students was also recruited in order to examine the correlations among the same variables within a larger, more normative, group. The largest commonality between the artist and the schizophrenic groups, who represented the extreme end of the schizophrenia spectrum, was the propensity to mystical experiences. The greatest differences between the artist and the schizophrenic groups were that the artists were higher in creativity, performed better on spatial abilities, had better balance, had more positive states of presence, and were lower in neuroticism than the schizophrenic group. In the student group, creativity was correlated with spatial ability, positive presence, absorption, and mystical experiences. In addition, creativity was significantly related to two facets of schizotypy, unusual experiences and impulsive nonconformity. In other words, students high in certain facets of schizotypy, who may share certain characteristics with those who have schizophrenia, are higher in creativity, but people who are on the extreme end of the schizophrenia spectrum, who have been diagnosed with schizophrenia, are not. The differences between the artist and schizophrenic groups on spatial ability, balance, sense of presence, and neuroticism may help to determine whether mystical experiences help to integrate creative work or destabilize and disorganize the sense of self. It may be that mystical experiences can be used more positively by the creative individuals than people with schizophrenia, in that artists and people high in creativity were higher in positive traits such as positive presence and lower on negative variables such as neuroticism, and introvertive anhedonia.

Photograph of Unidentified Man by J. W. Cole, Photographer [n.d.]

This is a small cabinet card of an unidentified man, photographed by J. W. Cole, of Brampton, Ont. He is possibly a relative of the Bell - Sloman family, whose descendants include former Black slaves who settled in Canada. While this photograph is undated, it is believed to be taken between 1865 and 1884. The photographer's stamp is printed in gold lettering along the bottom of the card. This photograph was in the possession of Iris Sloman Bell, of St. Catharines.Two photographers by the name of Cole are known to have worked in Brampton, Ontario in the latter half of the 19th century. J.F. (John W.?) is listed as a photographer in 1882, while John W. Cole operated from 1865-1884. John W. Cole is also listed as a daguerrean artist, that is, he produced daguerreotypes. He also dabbled in commerce, selling fancy goods. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Two Black Gentlemen Photographed by John Cooper, London/St. Thomas, Ont. [n.d.]

An undated cabinet card of two Black men photographed by John Cooper, who operated as a photographer in London, Ont. and St. Thomas, Ont. from 1857 - 1890. The reverse of the photograph features the photographer's stamp in coloured ink. This photograph was in the possession of Iris Sloman Bell, of St. Catharines. The Sloman - Bell family have relatives who include former Black slaves from the United States. John Cooper is listed as a photographer and daguerrean artist in 1857 - 1890 in London, Ont. and in 1874 in St. Thomas, Ont. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

"Where Gen. Brock died. Queenston. Oct. 13, 1812." by Clara Mason

[from back of painting] "The old house faced the river, and the artist has sketched the trees and old fences as they might have been at the time. The remains of the old well were found, and so the path from the house is represented as it probably appeared, together with the old fashioned well cover, common at that period. The artist has suggested a sunset background, in harmony with the evening of life of the old home and the passing of the great General. The house faced the east, so the western glory of the setting sun is most appropriate." The painting was done on paper and the frame is wooden. The artist's signature is located at the lower right. "House where General Brock died, Queenston, Ont."

Local Postcards, 1996, n.d.

6 of the postcards are sketches by Norbert Collins, these include: St. George’s Anglican Church, the museum, St. Paul United Church, Ridley College clock tower, St. Catherine’s Cathedral and the Willam Hamilton Merritt monument (all of St. Catharines). The 7th postcard is a picture of the St. Catharines Craft Guild Shop in Port Dalhousie (artist unknown). Norbert J. Collins is a Canadian artist.

Michael Hornyansky Fonds,

Michael Sands Hornyansky was the son of well-known artist, Nicholas Hornyansky and a cellist. He attended Oakwood Collegiate, Toronto; University College in Toronto and Merton College, Oxford where he was a Rhodes scholar. He won the Newdigate prize for poetry in 1951. Dr. Hornyansky taught English Language and Literature at Carleton University, Ottawa for 10 years before moving to Niagara in 1964. He was the founding chairman of the English Department of Brock University where he remained until his retirement in 1993. Some of his achievements include:The Golden Phoenix, a retelling of French Canadian folk tales and the publishing of papers on children’s literature and the discriminating use of the English language. He also reviewed poetry for the University of Toronto Quarterly. Michael Hornyansky died on May 14th, 2008 in Alberta at the age of 81. The annual Michael Hornyansky prize for creative writing was established at Brock University.

Sir Isaac Brock Facial Reconstruction Project, n.d.

Christian Cardell Corbet, a descendant of Guernsey, Channel Islands, was born in 1966 at Pickering Beach on Lake Ontario. He developed his talents as a landscape artist and at the young age of 14 he began his informal education in commercial signage from his paternal grandfather. He studied at the University of Guelph and McMaster University Anatomy Laboratory. Corbet traveled to England where he began to experiment more in abstraction and non-objective work. In 1995, he presented a portrait of HM Queen Elizabeth the Queen Mother at Clarence House. This brought his career to an international level. He also creates two-dimensional works and has received acclaim for his bronze art medallions. He has gained international recognition as a Forensic Artist working as Artist in Residence for the University of Western Ontario. He does facial reconstructions for special assignments. These original drawings relate to a sculpted medallion of Brock which was authorized by Sir Geoffrey Rowland, Bailiff, Guernsey, Channel Islands and Minister of Education of the States of Guernsey. This is the first time in known recorded history that a forensic analysis and sculpture has been created to accurately depict the facial likeness of Sir Isaac Brock. This project has been established to mark the 2012 anniversary of the death of Brock.