1.
Halifax, Nova Scotia
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Halifax, legally known as the Halifax Regional Municipality, is the capital of the province of Nova Scotia, Canada. The municipality had a population of 403,131 in 2016, the regional municipality consists of four former municipalities that were amalgamated in 1996, Halifax, Dartmouth, Bedford, and the Municipality of Halifax County. Halifax is an economic centre in Atlantic Canada with a large concentration of government services. Agriculture, fishing, mining, forestry and natural gas extraction are major resource found in the rural areas of the municipality. Additionally, Halifax has consistently placed in the top 10 for business friendliness of North and South American cities, the first permanent European settlement in the region was on the Halifax Peninsula. The establishment of the Town of Halifax, named after the 2nd Earl of Halifax, the establishment of Halifax marked the beginning of Father Le Loutres War. The war began when Edward Cornwallis arrived to establish Halifax with 13 transports, by unilaterally establishing Halifax the British were violating earlier treaties with the Mikmaq, which were signed after Father Rales War. Cornwallis brought along 1,176 settlers and their families, St. Margarets Bay was first settled by French-speaking Foreign Protestants at French Village, Nova Scotia who migrated from Lunenburg, Nova Scotia during the American Revolution. The resulting explosion, the Halifax Explosion, devastated the Richmond District of Halifax, killing approximately 2,000 people, the blast was the largest artificial explosion before the development of nuclear weapons. Significant aid came from Boston, strengthening the bond between the two coastal cities, the municipal boundary thus now includes all of Halifax County except for several First Nation reserves. Since amalgamation, the region has officially been known as the Halifax Regional Municipality, on April 15,2014, the regional council approved the implementation of a new branding campaign for the region developed by the local firm Revolve Marketing. The campaign would see the region referred to in promotional materials simply as Halifax, mayor Mike Savage defended the decision, stating, Im a Westphal guy, Im a Dartmouth man, but Halifax is my city, we’re all part of Halifax. Because when I go and travel on behalf of this municipality, metropolitan Halifax is a term used to describe the urban concentration surrounding Halifax Harbour, including the Halifax Peninsula, the core of Dartmouth, and the Bedford-Sackville areas. It is the Statistics Canada population centre of Halifax, the dense urban core is centred on the Halifax Peninsula and the area of Dartmouth inside of the Circumferential Highway. The suburban area stretches into areas known as Mainland Halifax to the west, Cole Harbour to the east and this urban area is the most populous on Canadas Atlantic coast, and the second largest coastal population centre in the country after Vancouver, British Columbia. Halifax currently accounts for 40% of Nova Scotias population, and 15% of that of Atlantic Canada, Halifaxs urban core is home to a number of regional landmark buildings and retains significant historic buildings and districts. The downtowns office towers are overlooked by the fortress of Citadel Hill with its iconic Halifax Town Clock, Dalhousie Universitys campus is often featured in films and documentaries. Dartmouth also has its share of historic neighbourhoods and this has resulted in some modern high rises being built at unusual angles or locations
2.
Nova Scotia
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Nova Scotia is one of Canadas three Maritime provinces, and one of the four provinces which form Atlantic Canada. Nova Scotia is Canadas second-smallest province, with an area of 55,284 square kilometres, including Cape Breton, as of 2016, the population was 923,598. Nova Scotia is the second most-densely populated province in Canada with 17.4 inhabitants per square kilometre, Nova Scotia means New Scotland in Latin and is the recognized English language name for the province. In Scottish Gaelic, the province is called Alba Nuadh, which simply means New Scotland. Nova Scotia is Canadas second-smallest province in area after Prince Edward Island, the provinces mainland is the Nova Scotia peninsula surrounded by the Atlantic Ocean, including numerous bays and estuaries. Nowhere in Nova Scotia is more than 67 km from the ocean, Nova Scotia has many ancient fossil-bearing rock formations. These formations are rich on the Bay of Fundys shores. Blue Beach near Hantsport, Joggins Fossil Cliffs, on the Bay of Fundys shores, has yielded an abundance of Carboniferous age fossils, wassons Bluff, near the town of Parrsboro, has yielded both Triassic and Jurassic age fossils. Nova Scotia lies in the mid-temperate zone, since the province is almost surrounded by the sea, the climate is closer to maritime than to continental climate. The winter and summer temperature extremes of the climate are moderated by the ocean. However, winters are cold enough to be classified as continental – still being nearer the freezing point than inland areas to the west. The Nova Scotia climate is in ways similar to the central Baltic Sea coast in Northern Europe. This is in spite of Nova Scotia being some fifteen parallels south, areas not on the Atlantic coast experience warmer summers more typical of inland areas, and winter lows a little colder. The province includes regions of the Mikmaq nation of Mikmaki, the Mikmaq people inhabited Nova Scotia at the time the first European colonists arrived. In 1605, French colonists established the first permanent European settlement in the future Canada at Port Royal, the British conquest of Acadia took place in 1710. The Treaty of Utrecht in 1713 formally recognized this and returned Cape Breton Island to the French, present-day New Brunswick then still formed a part of the French colony of Acadia. The British changed the name of the capital from Port Royal to Annapolis Royal, in 1749, the capital of Nova Scotia moved from Annapolis Royal to the newly established Halifax. In 1755 the vast majority of the French population were removed in the Expulsion of the Acadians
3.
Art
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In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art. The oldest documented forms of art are visual arts, which include creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Music, theatre, film, dance, and other performing arts, as well as literature, until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. Art may be characterized in terms of mimesis, expression, communication of emotion, during the Romantic period, art came to be seen as a special faculty of the human mind to be classified with religion and science. Though the definition of what art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency. The nature of art, and related such as creativity. One early sense of the definition of art is related to the older Latin meaning. English words derived from this meaning include artifact, artificial, artifice, medical arts, however, there are many other colloquial uses of the word, all with some relation to its etymology. Several dialogues in Plato tackle questions about art, Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness in the Phaedrus, and yet in the Republic wants to outlaw Homers great poetic art, in Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, the forms also differ in their object of imitation. Comedy, for instance, is an imitation of men worse than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, Aristotle believed that imitation is natural to mankind and constitutes one of mankinds advantages over animals. The second, and more recent, sense of the art as an abbreviation for creative art or fine art emerged in the early 17th century. The creative arts are a collection of disciplines which produce artworks that are compelled by a drive and convey a message, mood. Art is something that stimulates an individuals thoughts, emotions, beliefs, works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. Often, if the skill is being used in a common or practical way, likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are considered applied art
4.
Arthur Lismer
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Arthur Lismer, CC was an English-Canadian painter and member of the Group of Seven. He is known for his paintings of ships in dazzle camouflage, at age 13 he apprenticed at a photo-engraving company. He was awarded a scholarship, and used this time to take evening classes at the Sheffield School of Arts from 1898 until 1905, in 1905, he moved to Antwerp, Belgium, where he studied art at the Academie Royale. Lismer immigrated to Canada in 1911, settled in Toronto, Ontario, from 1916-1919 Lismer served as the President of the Victoria College of Art. In wartime Halifax, Lismer was inspired by the shipping and naval activity of the port and this work came to the attention of Lord Beaverbrook who arranged for Lismer to be commissioned as an official war artist. His best-known work from the war years depicted what he observed and learned about in Halifax, Nova Scotia, Mine sweeping, convoying, patrolling and he also did some sketches of the Halifax Explosion. The collaboration of four artists at Grip gradually evolved into the Group of Seven, the group was known for its depictions of the North American wilderness. He also worked with the cadre at Grip, Arthur Lismers style was influenced by his pre-Canadian experience, where he found the Barbizon and post-impressionist movements a key inspiration. That same year, he became the first artistic director of the Hart House Theatre until 1921, during the Centennial of the City of Toronto, in 1934, Lismer was on the Pictures Committee. His work in art education was effective, and this service to the wider community caused Lismer to become influential in ways not achieved by his artist colleagues, for example, he started a childrens art program at the Art Gallery of Toronto, which became successful in the 1930s. Several members of the Group of Seven including Lismer became members of the Canadian Group of Painters, the gallery LArt français exhibited his works. Lismer was made a member of the Royal Canadian Academy of Arts, in 1967, he was made a Companion of the Order of Canada. Lismer died on March 23,1969 in Montreal, Quebec and was buried alongside members of the Original Seven at the McMichael Gallery Grounds. In Toronto, Lismer Hall, the auditorium at Humberside Collegiate Institute is named in his honour and he painted one of the largest murals in Canada for the school during the 1930s that hangs on the auditoriums walls today. Canadian official war artists War artist War art Brandon, Laura, ISBN9781845112370, OCLC225345535 Darroch, Lois. Bright Land, a Warm Look at Arthur Lismer, ISBN9780920886076, OCLC421844431 Gallatin, Albert Eugene. ISBN9780773522954, OCLC500964462 Reid, Dennis R, a Concise History of Canadian Painting. ISBN9780195406641, ISBN 978-0-19-540663-4, OCLC18378555 Boulet, Roger, Group of Seven and Tom Thomson, The Canadian Earth, M
5.
Conceptual art
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Conceptual art, sometimes simply called conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic and material concerns. Some works of art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions. The notion that art should examine its own nature was already a potent aspect of the art critic Clement Greenbergs vision of Modern art during the 1950s. One of the first and most important things they questioned was the assumption that the role of the artist was to create special kinds of material objects. Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as conceptual with an artists intention. The French artist Marcel Duchamp paved the way for the conceptualists, providing them examples of prototypically conceptual works — the readymades. The artistic tradition does not see an object as art because it is not made by an artist or with any intention of being art. This concept, also called Art esthapériste, derived from the infinitesimals of Gottfried Wilhelm Leibniz - quantities which could not actually exist except conceptually, the current incarnation of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961 the term art, coined by the artist Henry Flynt in his article bearing the term as its title. By the mid-1970s they had produced publications, indices, performances, texts, in 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center. Conceptual art emerged as a movement during the 1960s - in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a process of progressive reduction and those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is, later artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. Lawrence Weiner said, Once you know about a work of mine you own it, theres no way I can climb inside somebodys head and remove it. It is sometimes reduced to a set of written instructions describing a work, Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. This linguistic turn reinforced and legitimized the direction the artists took. Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art, osborne later made the observation that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9,2010. It is a claim made at the level of the ontology of the work of art
6.
Vito Acconci
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Vito Hannibal Acconci is an American designer, landscape architect, performance and installation artist. Acconci was married to the artist Rosemary Mayer, Acconci went to a Roman Catholic elementary school, high school, and college. He attended Regis High School in New York City and he received a BA in literature from the College of the Holy Cross in 1962 and an MFA in literature and poetry from the University of Iowa. He noted, There wasnt a woman in my classroom between kindergarten and graduate school, Acconci began his career as a poet, editing 0 TO9 with Bernadette Mayer in the late 1960s. In the late 1960s, Acconci transformed himself into a performance and video artist using his own body as a subject for photography, film, video, most of his early work incorporated subversive social comment. His performance and video work was marked heavily by confrontation and Situationism, in the mid-1970s, Acconci expanded his métier into the world of audio/visual installations. One installation/performance piece from this period is Seedbed, one motivation behind Seedbed was to involve the public in the works production by creating a situation of reciprocal interchange between artist and viewer. Cindy Nemser was the first art critic to write about Vito Acconci for Arts Magazine in 1971, Nemser also later did an interview with Vito Acconci which became the cover piece for Arts Magazine. In the article Video, the Aesthetics of Narcissism, Rosalind Krauss refers to aspects of Narcissism apparent in the work of Acconci. “A line of sight begin Acconci’s plane of vision ends on the eyes of his projected double”, Krauss uses this description to underline aspects of narcissism in the Vito Acconci work Centers. Krauss also goes on to explain the basis behind the actions of video in comparison to discussions of object art. In the 1980s, Acconci turned to permanent sculptures and installations, during this time he invited viewers to create artwork by activating machinery that erected shelters and signs. Later, in January 1983, Acconci was a visiting artist at Middlebury College, during that time, he completed Way Station I, which was his first permanent installation. The work sparked immense controversy on the campus, and was eventually set on fire. Acconci Studio is located on Jay Street in Brooklyn, the artist has focused on architecture and landscape design that integrates public and private space. One example of this is Walkways Through the Wall, which flow through structural boundaries of the Midwest Airlines Center in Milwaukee, Wisconsin and provide seating at both ends. The project replaced the existing facade with a series of panels that pivot vertically or horizontally to open the entire length of the gallery directly onto the street. Another example of his work is Dirt Wall at the Arvada Center for the Arts, the wall begins outside the Arvada Center and extends inside, rising from ground level to a height of 24 feet
7.
Sol LeWitt
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Solomon Sol LeWitt was an American artist linked to various movements, including Conceptual art and Minimalism. LeWitt came to fame in the late 1960s with his drawings and structures but was prolific in a wide range of media including drawing, printmaking, photography. He has been the subject of hundreds of exhibitions in museums. LeWitt was born in Hartford, Connecticut to a family of Jewish immigrants from Russia and his mother took him to art classes at the Wadsworth Atheneum in Hartford. After receiving a BFA from Syracuse University in 1949, LeWitt traveled to Europe where he was exposed to Old Master paintings, shortly thereafter, he served in the Korean War, first in California, then Japan, and finally Korea. LeWitt moved to New York City in 1953 and set up a studio on the Lower East Side, during this time he studied at the School of Visual Arts while also pursuing his interest in design at Seventeen magazine, where he did paste-ups, mechanicals, and photostats. In 1955, he was a designer in the office of architect I. M. Pei for a year. Around that time, LeWitt also discovered the work of the late 19th-century photographer Eadweard Muybridge, whose studies in sequence and locomotion were an early influence. These experiences, combined with a job as a night receptionist and clerk he took in 1960 at the Museum of Modern Art in New York. At MoMA, LeWitt’s co-workers included fellow artists Robert Ryman, Dan Flavin, Gene Beery, and Robert Mangold, LeWitt also became friends with Hanne Darboven, Eva Hesse, and Robert Smithson. LeWitt taught at several New York schools, including New York University, in 1980, LeWitt left New York for Spoleto, Italy. After returning to the United States in the late 1980s, LeWitt made Chester, Connecticut and he died at age 78 in New York from cancer complications. LeWitt is regarded as a founder of both Minimal and Conceptual art and his prolific two and three-dimensional work ranges from wall drawings to hundreds of works on paper extending to structures in the form of towers, pyramids, geometric forms, and progressions. These works range in size from gallery-sized installations to monumental outdoor pieces, LeWitt’s first serial sculptures were created in the 1960s using the modular form of the square in arrangements of varying visual complexity. In 1979, LeWitt participated in the design for the Lucinda Childs Dance Companys piece Dance, in the early 1960s, LeWitt first began to create his structures, a term he used to describe his three-dimensional work. His frequent use of open, modular structures originates from the cube, a form that influenced the artist’s thinking from the time that he first became an artist. After creating a body of work made up of closed form wooden objects, heavily-lacquered by hand, in the mid-1960s he “decided to remove the skin altogether and reveal the structure. ”This skeletal form. In the mid-1960s, LeWitt began to work with the open cube, from 1969, he would conceive many of his modular structures on a large scale, to be constructed in aluminum or steel by industrial fabricators
8.
Dan Graham
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Daniel Dan Graham is an American artist, writer, and curator. Graham grew up in New Jersey, in 1964 he began directing the John Daniels Gallery in New York, where he put on Sol LeWitts first one-man show, and in groups shows, exhibited works of Donald Judd, Dan Flavin and Robert Smithson. Like these artists, Graham considered himself a writer-artist, publishing essays and reviews on music, Dwight D. Eisenhowers paintings. His earliest work dealt with the page, predating but often associated with Conceptual art. His work often focuses on phenomena, and incorporates photography, video, performance art, glass. He lives and works in New York, Dan Graham was born in Urbana, Illinois, the son of a chemist and an educational psychologist. When he was 3, Graham moved from Illinois to Winfield Township, New Jersey and he had no formal education after high school and is self-educated. During his teens, reading included Margaret Mead, Claude Lévi-Strauss, the literary critic Leslie Fiedler and he wanted to be a writer, loved rock music which he wrote about critically and because he couldnt afford art supplies his early art took the form of magazine articles. Graham began his art career in 1964, at the age of 22 and he worked there until 1965, when he started creating his own conceptual pieces. During his time at the gallery, he exhibited works by minimalist artists such as Carl André, Sol LeWitt—LeWitts first solo show, Donald Judd, Robert Smithson, Dan Flavin. In the past thirty years, Dan Graham has proved himself to be a wide-ranging artist and his work consists of performance art, installations, video, sculpture, and photography. Few of Graham’s works have been commissioned or exhibited in the United States. In fact, the major work commissioned in the U. S. in the last decade was the Rooftop Urban Park Project, in which he designed the piece Two-Way Mirror Cylinder Inside Cube. Some other commissions in the U. S. are Yin/Yang at MIT, the labyrinth at the Minneapolis Sculpture Garden, and at Middlebury College, Grahams work was always firmly based within conceptual art practice. Early examples were photographs and numerological sequences, often printed in magazines, for example Figurative, with the latter Graham draws on the actual physical structure of the magazine in which it is printed for the content of the work itself. As such the same work changes according to its location within the world. Other works include Site Effects/Common Drugs and Detumescence, after this Graham broadened his conceptual practice development with performance, film, video and sculpture including Rock My Religion and Performer/Audience/Mirror. His installations such as Public Space/Two Audiences or Yesterday/Today further inspired his move to the indoor and outdoor pavilions he most recently designs
9.
Joseph Beuys
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Joseph Beuys was a German Fluxus, happening, and performance artist as well as a sculptor, installation artist, graphic artist, art theorist, and pedagogue. His career was characterized by passionate and only rarely acrimonious open public debates on a wide range of subjects including political, environmental, social. He is widely regarded as one of the most influential artists of the half of the 20th century. Joseph Beuys was born in Krefeld, the son of the merchant Josef Jakob Beuys, the parents had moved from Geldern to Krefeld in 1910, and Beuys was born there on 12 May 1921. In autumn of that year the family moved to Kleve, a town in the Lower Rhine region of Germany. There, Joseph attended primary school and secondary school and his teachers considered him to have a talent for drawing, he also took piano and cello lessons. On several occasions he visited the studio of the Flemish painter, other interests of note include Nordic history and mythology and especially the natural sciences. Beuys 1936 membership in the Hitler Youth is documented, the organization comprised a majority of German children and adolescents at that time. He participated in the Nuremberg rally in September 1936, when he was 15 years old, around 1939 he worked for a circus on the side, postering and taking care of animals for about a year. He graduated from school in the spring of 1941 with his Abitur, in 1941, Beuys volunteered for the Luftwaffe. It is also during this time that he began to consider a career as an artist. In 1942, Beuys was stationed in the Crimea and was a member of various combat bomber units, from 1943 on he was deployed as rear-gunner in the Ju 87 Stuka dive-bomber, initially stationed in Königgrätz, later in the eastern Adriatic region. Drawings and sketches from that time have been preserved and already show his characteristic style, on 16 March 1944, Beuyss plane crashed on the Crimean Front close to Znamianka. They were the nomads of the Crimea, in what was no mans land between the Russian and German fronts, and favoured neither side. I had already struck up a relationship with them. ‘Du nix njemcky’ they would say, ‘du Tartar, ’ and their nomadic ways attracted me of course, although by that time their movements had been restricted. Yet, it was they who discovered me in the snow after the crash, I was still unconscious then and only came round completely after twelve days or so, and by then I was back in a German field hospital. So the memories I have of that time are images that penetrated my consciousness, the last thing I remember was that it was too late to jump, too late for the parachutes to open
10.
Claes Oldenburg
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Claes Oldenburg is an American sculptor, best known for his public art installations typically featuring large replicas of everyday objects. Another theme in his work is soft sculpture versions of everyday objects, many of his works were made in collaboration with his wife, Coosje van Bruggen. Van Bruggen died in 2009 after 32 years of marriage, Oldenburg lives and works in New York. Claes Oldenburg was born on January 28,1929 in Stockholm and his father was then a Swedish diplomat stationed in New York and in 1936 was appointed Consul General of Sweden to Chicago where Oldenburg grew up, attending the Latin School of Chicago. He studied literature and art history at Yale University from 1946 to 1950, while further developing his craft, he worked as a reporter at the City News Bureau of Chicago. He also opened his own studio and, in 1953, became a citizen of the United States. In 1956, he moved to New York, working part-time in the library of the Cooper Union Museum for the Arts of Decoration. Oldenburgs first recorded sales of artworks were at the 57th Street Art Fair in Chicago and he moved back to New York City in 1956. Oldenburg began toying with the idea of sculpture in 1957. Oldenburgs first show that included works, in May 1959, was at the Judson Gallery. During this time, artist Robert Beauchamp described Oldenburg as brilliant, in the 1960s Oldenburg became associated with the Pop Art movement and created many so-called happenings, which were performance art related productions of that time. The name he gave to his own productions was Ray Gun Theater and his first wife Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, approach to art was at odds with the prevailing sensibility that, by its nature. But Oldenburgs spirited art found first a niche then a great popularity that endures to this day, Oldenburg moved to Los Angeles in 1963 because it was the most opposite thing to New York could think of. That same year, he conceived AUT OBO DYS, performed in the lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments, in 1969, Oldenberg contributed a drawing to the Moon Museum. Many of Oldenburgs large-scale sculptures of mundane objects elicited ridicule before being accepted, for example, the 1969 Lipstick on Caterpillar Tracks, was removed from its original place in Beinecke Plaza at Yale University, and circulated on a loan basis to other campuses. With its bright color, contemporary form and material and its subject, it attacked the sterility
11.
Dalhousie University
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Dalhousie University is a public research university in Nova Scotia, Canada, with three campuses in Halifax, a fourth in Bible Hill, and medical teaching facilties in Saint John, New Brunswick. Dalhousie offers more than 4,000 courses and 180 degree programs in undergraduate, graduate. The university is a member of the U15, a group of universities in Canada. Dalhousie was established as a college in 1818 by the eponymous Lieutenant Governor of Nova Scotia, George Ramsay. The college did not hold its first class until 1838, until then operating sporadically due to financial difficulties and it reopened for a third time in 1863 following a reorganization that brought a change of name to The Governors of Dalhousie College and University. The university formally changed its name to Dalhousie University in 1997 through provincial legislation, Dalhousie is a centre for marine research, and is host to the headquarters of the Ocean Tracking Network. The Dalhousie library system operates the largest library in Atlantic Canada, the university operates a total of fourteen residences. There are currently two student unions that represent student interests at the university, the Dalhousie Student Union and the Dalhousie Association for Graduate Students, Dalhousies varsity teams, the Tigers, compete in the Atlantic University Sport conference of Canadian Interuniversity Sport. Dalhousies Faculty of Agriculture varsity teams are called the Dalhousie Rams, Dalhousie is a coeducational university with more than 18,000 students and 110,000 alumni. Dalhousie was founded as the Lieutenant Governor of Nova Scotia George Ramsay, the college was established in 1818, though it faltered shortly after as Ramsay left Halifax to serve as the Governor General of British North America. The school was structured upon the principles of the University of Edinburgh, the University of Edinburgh was located near Ramsays home in Scotland. In 1821 Dalhousie College was officially incorporated by the Nova Scotia House of Assembly under the 1821 Act of Incorporation, the college did not hold its first class until 1838, operation of the college was intermittent and no degrees were awarded. In 1841 an Act of the Nova Scotia House of Assembly conferred university powers on Dalhousie, in 1863 the college opened for a third time and was reorganized by another legislative act, which added University to the schools name, The Governors of Dalhousie College and University. Dalhousie reopened with six professors and one tutor, when it awarded its first degrees in 1866 the student body consisted of 28 students working toward degrees and 28 occasional students. The first female graduate was Margaret Florence Newcome from Grafton, Nova Scotia, despite the reorganization and an increase in students, money continued to be a problem for the institution. Munro is credited with rescuing Dalhousie from closure, and in honour of his contributions Dalhousie observes a university holiday called George Munro Day on the first Friday of each February. Originally located at the now occupied by Halifax City Hall. Dalhousie grew steadily during the 20th century, from 1889 to 1962 the Halifax Conservatory was affiliated with and awarded degrees through Dalhousie
12.
Michael Snow
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Michael Snow, CC is a Canadian artist working in painting, sculpture, video, films, photography, holography, drawing, books and music. His best-known films are Wavelength and La Région Centrale, with the former regarded as a milestone in avant-garde cinema, Michael Snow was born in Toronto and studied at Upper Canada College and the Ontario College of Art. He had his first solo exhibition in 1957, in the early 1960s Snow moved to New York with his first wife, artist Joyce Wieland, where they remained for nearly a decade. For Snow this move resulted in a proliferation of creative ideas and connections and his work increasingly gained recognition. He returned to Canada in the early 1970s an established figure, multiply defined as a visual artist, a filmmaker, Snows works were included in the shows marking the reopening of both the Centre Pompidou in Paris in 2000 and the MoMA in New York in 2005. In March 2006, his works were included in the Whitney Biennial, Snow is considered one of the most influential experimental filmmakers and is the subject of retrospectives in many countries. Rich with new possibilities, *Corpus Callosum heralds the advent of the next, whatever it is, it cannot be too highly praised. ”*Corpus Calossum was screened at the Toronto, Berlin, Rotterdam, and the Los Angeles film festivals amongst others. In January 2003, Snow won the Los Angeles Film Critics Association and his numerous films have premiered in major film festivals all over the world. Five of his films have premiered at the Toronto International Film Festival, in 2000, TIFF commissioned Snow with Atom Egoyan and David Cronenberg to make short films, Preludes, for the 25th Anniversary of the festival. Originally a professional musician, Snow has a long-standing interest in improvised music, as indicated by the soundtrack to his film New York Eye. As a pianist, he has performed solo and with musicians in North America, Europe. Snow performs regularly in Canada and internationally, often with the music ensemble CCMC and has released more than a half dozen albums since the mid-1970s. One track, purported to be a document of a ritual from Niger, is a pastiche of Whitney Houstons song How Will I Know. Snow was one of the four performers of the rarely performed Steve Reich piece Pendulum Music on May 27,1969 at the Whitney Museum of American Art, the other three were, Richard Serra, James Tenney and Bruce Nauman. Before Snow moved to New York in 1961, he began a project that for six years would be his trademark. By combining materials and methods Snow creates hybrid objects that often defy classification, Snows works have been in Canadian pavilion at world fairs since his famous Walking Women sculpture was exhibited at Expo 67 in Montréal. His recent bookwork BIOGRAPHIE of the Walking Woman / de la femme qui marche 1961-1967 was published in Brussels by La Lettre vole and it consists of images of the public appearances of his globally famous icon. Anarchive2, Digital Snow describes Michael Snow as “one of the most significant artists in contemporary art and it is an encyclopedia of Snows works across media, browsed in a manner inimitably and artfully created by Snow
