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Media Kit
NOTICE
The images provided from this web site are for the purposes of promoting the awards and the award winners only. Any other use of these images is strictly prohibited. Images remain the property of the artists or arts organizations that provided them. Complete credit information indicating image source and photography must be reproduced with the image.
Redistribution of these images is strictly prohibited.
If you have questions about using these images, please contact the coordinator of Council’s image bank at (613) 566-4414, extension 4139.
Mowry Baden
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(Photo: Martin Lipman)
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Hudson Street Watercress, 1983, steel, rubber, plastic, 120 x 40 x 120 cm.
(Photo: Mowry Baden)
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Tender Trepanation (with Catherine MacLean and Grant McPherson), 2005, stainless steel, plastic, fabric and light, 457 x 1067 x 782 cm.
(Photo: John Yanyshyn)
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The Light That Severs Day From Night, 2002-2003, stainless steel, plastic, aluminum, 262 x 450 x 567 cm.
(Photo: Milutin Gubash)
Micheline Beauchemin
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(Photo: Martin Lipman)
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A-B-1, 1968-69, wool, acrylic, phosphorescent acrylic, black light, anodized aluminum, 4.42 x 3.28 m. Collection of the Government of Ontario, Queen’s Park, Toronto, John B. Parkin and Rowland, architects.
(Photo: Vida / Saltmarche)
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Dream Catcher, 1997-98, nylon monofilament, cable, aluminum, 1.73 x 4.57 m. McCormick Place Convention Center, Chicago, U.S. With the kind permission of Metropolitan Pier and Exposition Authority, and McCormick Place Convention Center.
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Curtain, 1966-69, nylon monofilament, lurex, flax fiber, cotton, 19 x 35 m, Southam Hall, National Arts Centre, Ottawa, Fred Lebensold, architect (ARCOP Design).
(Photo: NAC)
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Ailes nordiques. Couleur de temps, 1984, aluminum, silver mirror, stainless steel wire, 6 x 11.40 m (variable dimensions). Palais des Congrès de Montréal, Montreal, Victor Prus, architect.
(Photo: Micheline Beauchemin)
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La Grande Ville des anges (detail), 1962-63, wool, 1.82 x 30.4 m (total dimensions), Église Saint-Jean-Vianney, Montreal, Roger D’Astous, architect.
(Photo: Daniel Roussel)
Vera Frenkel
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(Photo: Martin Lipman)
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Body Missing (detail: station 6), 1997-98, six-channel web-video installation, Göteborg Museum, Göteborg, Sweden.
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…from the Transit Bar, 1992, six-channel video-disc installation and functional piano bar, documenta IX, Kassel, Germany.
(Photo: Dirk Bleicker)
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Body Missing (partial views), 2001, multi-channel video-web-photo installation, Canadian Cultural Centre, Paris.
(Photo: Christophe Lebrun)
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The InstituteTM: Or, What We Do For Love (partial view) 2003
Web-based multidisciplinary installation, Justina M. Barnicke Gallery, Hart House, University of Toronto, Toronto.
(Photo: Rafy)
Peggy Gale
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(Photo: Martin Lipman)
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Images from Tout le temps / Every Time, 2000 Biennale de Montréal, Centre international d’art contemporain de Montréal. Peggy Gale curated the visual arts component of the biennale. Reproduced with the kind permission of the Centre international d’art contemporain de Montréal.
(Photos: Guy L’Heureux)
Clockwise from upper left:
Marijke van Warmerdam, It Crossed My Mind, 2000, 16 mm film, looped. Geneviève Cadieux, Portrait, 2000, chromogenic print, 305 x 305 cm. Diane Landry, École d’aviation, 2000, installation of found objects, 6 x 6 x 2.20 m. Edward Pien, Two Worlds (detail), 1999-2000, drawings on paper, mixed media.
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Video by Artists, 1976
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Videotexts, 1995
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Performance by Artists (with AA Bronson), 1979
Kenneth Lochhead
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(Photo: Martin Lipman)
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The Bonspiel, 1954, oil on canvas, 31.7 x 62.3 cm, Saskatchewan Arts Board Permanent Collection.
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Dark Green Centre, 1963, acrylic on canvas, 208.3 x 203.2 cm, Art Gallery of Ontario, Gift: McLean Foundation, 1965.
(Photo: AGO)
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Concerto Grosso, 1995, oil on canvas, 91.4 x 121.9 cm. Collection of the artist.
(Photo: Don Hall)
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Escalation, 1971, acrylic on canvas, 232 x 623 cm, Canada Council Art Bank.
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Heart’s Desire, 1986, oil on canvas, 111.8 x 121.9 cm, Collection of Robin Campbell and Peter Jewett.
(Photo: Don Hall)
Arnaud Maggs
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(Photo: Martin Lipman)
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64 Portrait Studies, (detail) 1976-78. Collection of the Canadian Museum of Contemporary Photography.
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Orford String Quartet, 48 Views Series, (detail) 1981-83. Collection of the Canadian Museum of Contemporary Photography.
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Joseph Beuys, 100 Profile Views, (detail) 1980 , 40.3 x 40.3 cm. Collection of the National Gallery of Canada.
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Joseph Beuys, 100 Frontal Views, (detail) 1980, 40.3 x 40.3 cm. Collection of the Musée d’art contemporain de Montréal.
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Travail des enfants dans l¹industrie : les étiquettes, 1994 (installation view), 51 x 40 cm each.
(Photo: Isaac Applebaum)
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Cercles chromatiques de M.E. Chevreul, 2006 (installation view). Courtesy Susan Hobbs Gallery, Toronto.
(Photo: Volker Seding)
Peter Wintonick
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(Photo: Martin Lipman)
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Manufacturing Consent: Noam Chomsky and the Media, 1992, directed by Peter Wintonick and Mark Achbar, produced by Necessary Illusions and the National Film Board of Canada.
(Photo: Renzo)
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QuébeCanada Complex, 1996, directed by Peter Wintonick and Patricia Tassinari, produced by Necessary Illusions. Photo of actors Michael Rudder and Sylvie Laliberté: Monique Dykstra
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Cinema Vérité: Defining the Moment, 2000, directed by Peter Wintonick, produced by the National Film Board of Canada. Photo of D.A. Pennebaker and Bob Dylan courtesy D.A. Pennebaker.
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Seeing is Believing: Handicams, Human Rights and the News, 2002, directed by Peter Wintonick and Katerina Cizek, produced by Necessary Illusions. Photo of Peter Wintonick and Katerina Cizek: Francis Miquet
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Life Without Death, 2000, directed by Frank Cole, produced by Necessary Illusions, Francis Miquet and Frank Cole.
(Photo: Frank Cole)
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Life Without Death, 2000, directed by Frank Cole, produced by Necessary Illusions, Francis Miquet and Frank Cole.
(Photo: Frank Cole) |