thank you for inviting me to present I’m going to talk to you about the art
going to talk to you about the art
going to talk to you about the art Canada Institute which is an
Canada Institute which is an
Canada Institute which is an organization that I founded to promote
organization that I founded to promote
organization that I founded to promote Canadian art history research and
Canadian art history research and
Canadian art history research and education what I wanted to do was make
education what I wanted to do was make
education what I wanted to do was make Canadian art history a contemporary
Canadian art history a contemporary
Canadian art history a contemporary conversation why did I want to do this I
conversation why did I want to do this I
conversation why did I want to do this I wanted to bring Canadian art history
wanted to bring Canadian art history
wanted to bring Canadian art history into the 21st century
into the 21st century
into the 21st century I wanted to democratize Canadian art
I wanted to democratize Canadian art
I wanted to democratize Canadian art history I wanted to make art history and
history I wanted to make art history and
history I wanted to make art history and artists accessible to everyone what I
artists accessible to everyone what I
artists accessible to everyone what I have done over the last three years
have done over the last three years
have done over the last three years since founding the art Canada Institute
since founding the art Canada Institute
since founding the art Canada Institute is to create a web-based access to
is to create a web-based access to
is to create a web-based access to Canadian art and so what I’m going to
Canadian art and so what I’m going to
Canadian art and so what I’m going to talk to you about is about art in the
talk to you about is about art in the
talk to you about is about art in the digital age in the 21st century and what
digital age in the 21st century and what
digital age in the 21st century and what it means to look at art now and what the
it means to look at art now and what the
it means to look at art now and what the museum it means in the 21st century on
museum it means in the 21st century on
museum it means in the 21st century on the art candidate Institute site there
the art candidate Institute site there
the art candidate Institute site there are online exhibitions like this one
are online exhibitions like this one
are online exhibitions like this one about William not men a wonderful
about William not men a wonderful
about William not men a wonderful Montreal 19th century photographer so
Montreal 19th century photographer so
Montreal 19th century photographer so there’s an exhibition about his work on
there’s an exhibition about his work on
there’s an exhibition about his work on our website there are online exhibitions
our website there are online exhibitions
our website there are online exhibitions that connect contemporary artists to
that connect contemporary artists to
that connect contemporary artists to those in art history who influenced them
those in art history who influenced them
those in art history who influenced them on our website there are comments from
on our website there are comments from
on our website there are comments from well-known Canadians like dr. Samantha
well-known Canadians like dr. Samantha
well-known Canadians like dr. Samantha Nutt talking about what matters to her
Nutt talking about what matters to her
Nutt talking about what matters to her about Canadian art history and why here
about Canadian art history and why here
about Canadian art history and why here what we’re looking at is is a work that
what we’re looking at is is a work that
what we’re looking at is is a work that she’s talking about by the wonderful
she’s talking about by the wonderful
she’s talking about by the wonderful photographer Canadian photographer
photographer Canadian photographer
photographer Canadian photographer Edward Burtynsky
Edward Burtynsky
Edward Burtynsky on the art Canada Institute’s website we
on the art Canada Institute’s website we
on the art Canada Institute’s website we have stories from individuals who have
have stories from individuals who have
have stories from individuals who have been critical to creating the history of
been critical to creating the history of
been critical to creating the history of Canadian art talking about the their
Canadian art talking about the their
Canadian art talking about the their experiences and what it has meant to
experiences and what it has meant to
experiences and what it has meant to build the country’s visual arts
build the country’s visual arts
build the country’s visual arts landscape
landscape
landscape we have spotlights featuring Canadian
we have spotlights featuring Canadian
we have spotlights featuring Canadian artists and their most important works
artists and their most important works
artists and their most important works we have essays that bring to Canadians
we have essays that bring to Canadians
we have essays that bring to Canadians the story of the most important
the story of the most important
the story of the most important paintings by the country’s leading
paintings by the country’s leading
paintings by the country’s leading scholars and museum professionals the
scholars and museum professionals the
scholars and museum professionals the art Canada Institute started with a
art Canada Institute started with a
art Canada Institute started with a vision for creating online digital art
vision for creating online digital art
vision for creating online digital art books available in both French and
books available in both French and
books available in both French and English and I’m going to talk to you a
English and I’m going to talk to you a
English and I’m going to talk to you a bit about why this vision came to me and
bit about why this vision came to me and
bit about why this vision came to me and it’s particularly appropriate following
it’s particularly appropriate following
it’s particularly appropriate following Alexandra’s talk about seven years ago I
Alexandra’s talk about seven years ago I
Alexandra’s talk about seven years ago I went back to University and I completed
went back to University and I completed
went back to University and I completed a PhD in art history and it was a great
a PhD in art history and it was a great
a PhD in art history and it was a great experience going back to university as a
experience going back to university as a
experience going back to university as a mature student because I noticed
mature student because I noticed
mature student because I noticed something I noticed that most students
something I noticed that most students
something I noticed that most students most of my peer group at university they
most of my peer group at university they
most of my peer group at university they were not going to the library to find
were not going to the library to find
were not going to the library to find their research and often they weren’t
their research and often they weren’t
their research and often they weren’t even going to a museum to look at art
even going to a museum to look at art
even going to a museum to look at art and this what we’re looking at on screen
and this what we’re looking at on screen
and this what we’re looking at on screen now is is a picture of the National
now is is a picture of the National
now is is a picture of the National Gallery of Canada and you’ll notice
Gallery of Canada and you’ll notice
Gallery of Canada and you’ll notice something it is particularly empty
something it is particularly empty
something it is particularly empty something else that became very apparent
something else that became very apparent
something else that became very apparent to me is that the comfort level that
to me is that the comfort level that
to me is that the comfort level that many people have with going to museums
many people have with going to museums
many people have with going to museums is is not is not a comfort level in fact
is is not is not a comfort level in fact
is is not is not a comfort level in fact in fact there is a distance between
in fact there is a distance between
in fact there is a distance between people’s entry point and accessibility
people’s entry point and accessibility
people’s entry point and accessibility to art and then getting into a museum
to art and then getting into a museum
to art and then getting into a museum and and I started thinking about why is
and and I started thinking about why is
and and I started thinking about why is this the case and and to understand why
this the case and and to understand why
this the case and and to understand why this isn’t the case we have to look a
this isn’t the case we have to look a
this isn’t the case we have to look a bit into history and the museum and art
bit into history and the museum and art
bit into history and the museum and art galleries in fact as we know them
galleries in fact as we know them
galleries in fact as we know them there’s something that are fairly new in
there’s something that are fairly new in
there’s something that are fairly new in history they only really started coming
history they only really started coming
history they only really started coming into the public in about the 18th
into the public in about the 18th
into the public in about the 18th century and this is a very early museum
century and this is a very early museum
century and this is a very early museum and the museum’s actually originated
and the museum’s actually originated
and the museum’s actually originated from individual usually royalty nobility
from individual usually royalty nobility
from individual usually royalty nobility from
from
from private collections that people had that
private collections that people had that
private collections that people had that they would store stuff in cases like
they would store stuff in cases like
they would store stuff in cases like what you’re seeing here here’s another
what you’re seeing here here’s another
what you’re seeing here here’s another example of an early private Museum in
example of an early private Museum in
example of an early private Museum in the Netherlands but the thing is when
the Netherlands but the thing is when
the Netherlands but the thing is when museums then became open to the public
museums then became open to the public
museums then became open to the public largely happened after the French
largely happened after the French
largely happened after the French Revolution the vision of the museum was
Revolution the vision of the museum was
Revolution the vision of the museum was something like this put up great work
something like this put up great work
something like this put up great work and people will come which made a lot of
and people will come which made a lot of
and people will come which made a lot of sense before the digital age but now if
sense before the digital age but now if
sense before the digital age but now if you think about museums and if you think
you think about museums and if you think
you think about museums and if you think about books the first place that one is
about books the first place that one is
about books the first place that one is going to turn to learn about art in art
going to turn to learn about art in art
going to turn to learn about art in art history
history
history isn’t necessarily an art library of a
isn’t necessarily an art library of a
isn’t necessarily an art library of a bricks-and-mortar LA art library or
bricks-and-mortar LA art library or
bricks-and-mortar LA art library or going to an art museum which is not to
going to an art museum which is not to
going to an art museum which is not to say that it’s not significant to go and
say that it’s not significant to go and
say that it’s not significant to go and see art and to have access to art as a
see art and to have access to art as a
see art and to have access to art as a matter of fact after the Second World
matter of fact after the Second World
matter of fact after the Second World War the United Nations declared that art
War the United Nations declared that art
War the United Nations declared that art is a fundamental human right but there
is a fundamental human right but there
is a fundamental human right but there is an issue there is a bit of a crisis
is an issue there is a bit of a crisis
is an issue there is a bit of a crisis that we have in Canada which is that
that we have in Canada which is that
that we have in Canada which is that only 40 percent of Canadians actively
only 40 percent of Canadians actively
only 40 percent of Canadians actively access their own bricks-and-mortar
access their own bricks-and-mortar
access their own bricks-and-mortar museums and art galleries so I began to
museums and art galleries so I began to
museums and art galleries so I began to think how can we change this how can we
think how can we change this how can we
think how can we change this how can we start to look at art in an accelerated
start to look at art in an accelerated
start to look at art in an accelerated age in a 21st century age one of the
age in a 21st century age one of the
age in a 21st century age one of the things that I did was I looked up on
things that I did was I looked up on
things that I did was I looked up on Google one of my favorite artists an
Google one of my favorite artists an
Google one of my favorite artists an artist named Jack Chambers and you know
artist named Jack Chambers and you know
artist named Jack Chambers and you know I found a jack chamber school a blog on
I found a jack chamber school a blog on
I found a jack chamber school a blog on him but actually I was able to find next
him but actually I was able to find next
him but actually I was able to find next to no research and reliable content on
to no research and reliable content on
to no research and reliable content on him and this was a problem for me
him and this was a problem for me
him and this was a problem for me because while I was doing my PhD I
because while I was doing my PhD I
because while I was doing my PhD I started teaching at the University of
started teaching at the University of
started teaching at the University of Toronto and every course that I taught I
Toronto and every course that I taught I
Toronto and every course that I taught I wanted to make sure that I injected a
wanted to make sure that I injected a
wanted to make sure that I injected a healthy dose of Canadian art history
healthy dose of Canadian art history
healthy dose of Canadian art history into
into
into any course that I was teaching and yet
any course that I was teaching and yet
any course that I was teaching and yet when I went to the Internet it wasn’t
when I went to the Internet it wasn’t
when I went to the Internet it wasn’t there when I went to the library’s
there when I went to the library’s
there when I went to the library’s bricks and mortar libraries it wasn’t
bricks and mortar libraries it wasn’t
bricks and mortar libraries it wasn’t there either now I’m happy to say if you
there either now I’m happy to say if you
there either now I’m happy to say if you Google got Jack Chambers books one of
Google got Jack Chambers books one of
Google got Jack Chambers books one of the first things you see is the art
the first things you see is the art
the first things you see is the art Canada Institute and the book that we
Canada Institute and the book that we
Canada Institute and the book that we have done on Jack chambers so back to
have done on Jack chambers so back to
have done on Jack chambers so back to the museum for a moment this is a
the museum for a moment this is a
the museum for a moment this is a traditional way that museums looked
traditional way that museums looked
traditional way that museums looked siloed in their own independent space
siloed in their own independent space
siloed in their own independent space and I started looking at thinking about
and I started looking at thinking about
and I started looking at thinking about how did our landscape look when it came
how did our landscape look when it came
how did our landscape look when it came to viewing art and it looked something
to viewing art and it looked something
to viewing art and it looked something like this
like this
like this on the one hand there were a group of
on the one hand there were a group of
on the one hand there were a group of people called curators museum
people called curators museum
people called curators museum professionals who worked in museums and
professionals who worked in museums and
professionals who worked in museums and brought and tried to teach the public
brought and tried to teach the public
brought and tried to teach the public about art then there were academics
about art then there were academics
about art then there were academics university professors scholars who were
university professors scholars who were
university professors scholars who were studying art and then in the third group
studying art and then in the third group
studying art and then in the third group there was the public who was trying to
there was the public who was trying to
there was the public who was trying to have some sort of access to art but I
have some sort of access to art but I
have some sort of access to art but I knew from the statistics that this was
knew from the statistics that this was
knew from the statistics that this was failing because people didn’t feel an
failing because people didn’t feel an
failing because people didn’t feel an accessibility to art they didn’t feel a
accessibility to art they didn’t feel a
accessibility to art they didn’t feel a comfort level around it so I decided to
comfort level around it so I decided to
comfort level around it so I decided to come up with a new vision with the
come up with a new vision with the
come up with a new vision with the vision called the art Canada Institute
vision called the art Canada Institute
vision called the art Canada Institute where what I would do is I would draw
where what I would do is I would draw
where what I would do is I would draw together museum professionals academics
together museum professionals academics
together museum professionals academics and the public through presenting art
and the public through presenting art
and the public through presenting art largely on a digital platform I went and
largely on a digital platform I went and
largely on a digital platform I went and I approached over 50 of the country’s
I approached over 50 of the country’s
I approached over 50 of the country’s leading museum professionals and art
leading museum professionals and art
leading museum professionals and art historians people who amazingly had
historians people who amazingly had
historians people who amazingly had never ever worked together and I said to
never ever worked together and I said to
never ever worked together and I said to them how would you feel about creating
them how would you feel about creating
them how would you feel about creating original content for the internet that
original content for the internet that
original content for the internet that introduced a broad public audience to
introduced a broad public audience to
introduced a broad public audience to Canadian art and its most important
Canadian art and its most important
Canadian art and its most important thinkers creators innovators and the
thinkers creators innovators and the
thinkers creators innovators and the response that I had was overwhelmingly
response that I had was overwhelmingly
response that I had was overwhelmingly positive because really there was a
positive because really there was a
positive because really there was a group
group
group people all these names that you see on
people all these names that you see on
people all these names that you see on screen who wanted to learn and wanted to
screen who wanted to learn and wanted to
screen who wanted to learn and wanted to teach about Canadian art history but
teach about Canadian art history but
teach about Canadian art history but they didn’t know how to bring it to a
they didn’t know how to bring it to a
they didn’t know how to bring it to a broad public audience through the
broad public audience through the
broad public audience through the internet and in large part what I did
internet and in large part what I did
internet and in large part what I did I’m not a tech innovator I am not a
I’m not a tech innovator I am not a
I’m not a tech innovator I am not a coder much like Alexandra before me I
coder much like Alexandra before me I
coder much like Alexandra before me I had an idea and what I said is what I
had an idea and what I said is what I
had an idea and what I said is what I can do is I can help bring your idea and
can do is I can help bring your idea and
can do is I can help bring your idea and what I did know how to do is I did have
what I did know how to do is I did have
what I did know how to do is I did have a strong background in graphic design I
a strong background in graphic design I
a strong background in graphic design I had worked as a journalist as a
had worked as a journalist as a
had worked as a journalist as a traditional book publisher a print book
traditional book publisher a print book
traditional book publisher a print book publisher what I said to my colleagues
publisher what I said to my colleagues
publisher what I said to my colleagues at museums and at universities I said
at museums and at universities I said
at museums and at universities I said you know we’re in an age right now where
you know we’re in an age right now where
you know we’re in an age right now where if you’re going to buy a house the first
if you’re going to buy a house the first
if you’re going to buy a house the first place you’re going to look is on the
place you’re going to look is on the
place you’re going to look is on the Internet if you’re going to see a film
Internet if you’re going to see a film
Internet if you’re going to see a film the first place we’re going to look is
the first place we’re going to look is
the first place we’re going to look is on the Internet if you’re going to go to
on the Internet if you’re going to go to
on the Internet if you’re going to go to a restaurant the first place you’re
a restaurant the first place you’re
a restaurant the first place you’re going to look is online we need to start
going to look is online we need to start
going to look is online we need to start doing this for art and art history and
doing this for art and art history and
doing this for art and art history and it’s it is incredible to believe that
it’s it is incredible to believe that
it’s it is incredible to believe that this hadn’t really been done before but
this hadn’t really been done before but
this hadn’t really been done before but simply it hadn’t hadn’t taken place and
simply it hadn’t hadn’t taken place and
simply it hadn’t hadn’t taken place and so what I did was I created this program
so what I did was I created this program
so what I did was I created this program called the Canadian online art book
called the Canadian online art book
called the Canadian online art book project and since it was founded what we
project and since it was founded what we
project and since it was founded what we have done is we have created 24 digital
have done is we have created 24 digital
have done is we have created 24 digital books this has been since November 2013
books this has been since November 2013
books this has been since November 2013 books that are all available
books that are all available
books that are all available simultaneously published in French and
simultaneously published in French and
simultaneously published in French and English both on a desktop version a
English both on a desktop version a
English both on a desktop version a mobile version a PDF version and all
mobile version a PDF version and all
mobile version a PDF version and all this material is available for free so
this material is available for free so
this material is available for free so in addition to founding this project
in addition to founding this project
in addition to founding this project what I did was I went out and I found
what I did was I went out and I found
what I did was I went out and I found donor support and I said to donors what
donor support and I said to donors what
donor support and I said to donors what really matters is democratizing art for
really matters is democratizing art for
really matters is democratizing art for Canadians making this subject accessible
Canadians making this subject accessible
Canadians making this subject accessible because I explained it quite simply I
because I explained it quite simply I
because I explained it quite simply I said that when I see my children
said that when I see my children
said that when I see my children enter the word art into Google I want
enter the word art into Google I want
enter the word art into Google I want what I want to come up is not a Vincent
what I want to come up is not a Vincent
what I want to come up is not a Vincent van Gogh or Pablo Picasso or Salvador
van Gogh or Pablo Picasso or Salvador
van Gogh or Pablo Picasso or Salvador Dali what I want to see is Joyce Weiland
Dali what I want to see is Joyce Weiland
Dali what I want to see is Joyce Weiland I want to see Emily Carr I want to see
I want to see Emily Carr I want to see
I want to see Emily Carr I want to see Tom Thomson I want to see Lauren Harris
Tom Thomson I want to see Lauren Harris
Tom Thomson I want to see Lauren Harris I want everybody in this audience I want
I want everybody in this audience I want
I want everybody in this audience I want all Canadians to know about their own
all Canadians to know about their own
all Canadians to know about their own visual cultural heritage and so
visual cultural heritage and so
visual cultural heritage and so thankfully I had a great enthusiastic
thankfully I had a great enthusiastic
thankfully I had a great enthusiastic response from art historians and museum
response from art historians and museum
response from art historians and museum professionals and I also had a very
professionals and I also had a very
professionals and I also had a very strong response from donors who said I
strong response from donors who said I
strong response from donors who said I really like this vision I believe in it
really like this vision I believe in it
really like this vision I believe in it I want to support you traditionally most
I want to support you traditionally most
I want to support you traditionally most print art books in Canada have had a
print art books in Canada have had a
print art books in Canada have had a sale of about two thousand copies we
sale of about two thousand copies we
sale of about two thousand copies we know at the art Canada Institute that
know at the art Canada Institute that
know at the art Canada Institute that over three hundred thousand people use
over three hundred thousand people use
over three hundred thousand people use our books regularly so what that means
our books regularly so what that means
our books regularly so what that means is that regardless of people’s proximity
is that regardless of people’s proximity
is that regardless of people’s proximity to a bricks-and-mortar museum regardless
to a bricks-and-mortar museum regardless
to a bricks-and-mortar museum regardless of their level of knowledge of art
of their level of knowledge of art
of their level of knowledge of art history and their expertise all
history and their expertise all
history and their expertise all individuals are able to be part of the
individuals are able to be part of the
individuals are able to be part of the conversation about Canadian art I’m
conversation about Canadian art I’m
conversation about Canadian art I’m going to take you inside some of our
going to take you inside some of our
going to take you inside some of our books and show you what they look like
books and show you what they look like
books and show you what they look like every book was created not as a print
every book was created not as a print
every book was created not as a print book that was then put on the Internet
book that was then put on the Internet
book that was then put on the Internet I thought through the logistics of
I thought through the logistics of
I thought through the logistics of looking at art with my team of great and
looking at art with my team of great and
looking at art with my team of great and great team of editors art historians
great team of editors art historians
great team of editors art historians thinkers and what we found is we knew
thinkers and what we found is we knew
thinkers and what we found is we knew that when people wanted to learn about
that when people wanted to learn about
that when people wanted to learn about art what they wanted to know about was
art what they wanted to know about was
art what they wanted to know about was an artist biography about a key works of
an artist biography about a key works of
an artist biography about a key works of an artist about the significance and
an artist about the significance and
an artist about the significance and critical issues of art and so for every
critical issues of art and so for every
critical issues of art and so for every book that we did we then followed this
book that we did we then followed this
book that we did we then followed this similar format this is the title page of
similar format this is the title page of
similar format this is the title page of our book on William not men the 19th
our book on William not men the 19th
our book on William not men the 19th century Montreal photographer one can
century Montreal photographer one can
century Montreal photographer one can either start reading it immediately or
either start reading it immediately or
either start reading it immediately or one can download it as a PDF to to read
one can download it as a PDF to to read
one can download it as a PDF to to read without internet access in every book
without internet access in every book
without internet access in every book there’s a chapter heading that takes
there’s a chapter heading that takes
there’s a chapter heading that takes the user through the biography of the
the user through the biography of the
the user through the biography of the artist this is a visual of what an
artist this is a visual of what an
artist this is a visual of what an interior page looks like in every spot
interior page looks like in every spot
interior page looks like in every spot where there was a piece of language that
where there was a piece of language that
where there was a piece of language that seemed to be what I would call art speak
seemed to be what I would call art speak
seemed to be what I would call art speak we make available a pop-up definition of
we make available a pop-up definition of
we make available a pop-up definition of those words again this is to make sure
those words again this is to make sure
those words again this is to make sure that all have an accessibility that
that all have an accessibility that
that all have an accessibility that people don’t start to read and think I
people don’t start to read and think I
people don’t start to read and think I don’t understand this I’m going to go
don’t understand this I’m going to go
don’t understand this I’m going to go off to a different site every book has
off to a different site every book has
off to a different site every book has something called a key work section
something called a key work section
something called a key work section where it’s essentially like an online
where it’s essentially like an online
where it’s essentially like an online exhibition of looking at the artists
exhibition of looking at the artists
exhibition of looking at the artists work and all one has to do is go through
work and all one has to do is go through
work and all one has to do is go through 10 to 15 key works to understand what an
10 to 15 key works to understand what an
10 to 15 key works to understand what an artist life and work is about a style
artist life and work is about a style
artist life and work is about a style and technique section to understand how
and technique section to understand how
and technique section to understand how this artist is different and what makes
this artist is different and what makes
this artist is different and what makes her work or his work so unique here’s a
her work or his work so unique here’s a
her work or his work so unique here’s a look at the style into innovation that
look at the style into innovation that
look at the style into innovation that William not men used we’re looking at a
William not men used we’re looking at a
William not men used we’re looking at a glass plate negative that’s something
glass plate negative that’s something
glass plate negative that’s something that is featured as part of the style
that is featured as part of the style
that is featured as part of the style and technique section the significance
and technique section the significance
and technique section the significance and critical issues of the artist simply
and critical issues of the artist simply
and critical issues of the artist simply answering the question why does this
answering the question why does this
answering the question why does this person matter why is this person
person matter why is this person
person matter why is this person important to our cultural landscape as I
important to our cultural landscape as I
important to our cultural landscape as I mentioned every book is available
mentioned every book is available
mentioned every book is available simultaneously in French and this is
simultaneously in French and this is
simultaneously in French and this is something that is also so critical when
something that is also so critical when
something that is also so critical when looking at art in the 21st century
looking at art in the 21st century
looking at art in the 21st century because Canadian art what has often
because Canadian art what has often
because Canadian art what has often tended to happen is that there have been
tended to happen is that there have been
tended to happen is that there have been very important artists in Quebec but the
very important artists in Quebec but the
very important artists in Quebec but the translation of books about those artists
translation of books about those artists
translation of books about those artists hasn’t happened to English so they
hasn’t happened to English so they
hasn’t happened to English so they remained important artists in Quebec but
remained important artists in Quebec but
remained important artists in Quebec but not in the rest of Canada every book has
not in the rest of Canada every book has
not in the rest of Canada every book has the sources in resources section so one
the sources in resources section so one
the sources in resources section so one is able to do further study and most
is able to do further study and most
is able to do further study and most importantly and this has been a really
importantly and this has been a really
importantly and this has been a really key innovation of the art Canada
key innovation of the art Canada
key innovation of the art Canada Institute is that every book has a
Institute is that every book has a
Institute is that every book has a section called
section called
section called where to see which then links the reader
where to see which then links the reader
where to see which then links the reader from the book to an institution and so
from the book to an institution and so
from the book to an institution and so what the art Canada in
what the art Canada in
what the art Canada in stitute is doing is we are actually
stitute is doing is we are actually
stitute is doing is we are actually becoming a directory of where to see
becoming a directory of where to see
becoming a directory of where to see Canadian art where to find Canadian art
Canadian art where to find Canadian art
Canadian art where to find Canadian art around the world finally a key thing
around the world finally a key thing
around the world finally a key thing that we do is we promote our authors
that we do is we promote our authors
that we do is we promote our authors which traditionally actually it’s bit
which traditionally actually it’s bit
which traditionally actually it’s bit academics and museum professionals have
academics and museum professionals have
academics and museum professionals have not become rock stars so to speaks in
not become rock stars so to speaks in
not become rock stars so to speaks in terms of the knowledge about their work
terms of the knowledge about their work
terms of the knowledge about their work but this is bringing those individuals
but this is bringing those individuals
but this is bringing those individuals into the 21st century into the
into the 21st century into the
into the 21st century into the accelerated world of Museum and art
accelerated world of Museum and art
accelerated world of Museum and art technology I wanted to show you another
technology I wanted to show you another
technology I wanted to show you another book this is our Emily Carr book just so
book this is our Emily Carr book just so
book this is our Emily Carr book just so you see how our format is similar from
you see how our format is similar from
you see how our format is similar from book to book which is something that our
book to book which is something that our
book to book which is something that our readers find very satisfying we have had
readers find very satisfying we have had
readers find very satisfying we have had tremendous praise for our work the
tremendous praise for our work the
tremendous praise for our work the director of the the National Gallery of
director of the the National Gallery of
director of the the National Gallery of Canada said that the art Canada
Canada said that the art Canada
Canada said that the art Canada Institute was the best news in Canadian
Institute was the best news in Canadian
Institute was the best news in Canadian art in a long time that The Globe and
art in a long time that The Globe and
art in a long time that The Globe and Mail had said we are breathing digital
Mail had said we are breathing digital
Mail had said we are breathing digital life into Canadian art history MacLean
life into Canadian art history MacLean
life into Canadian art history MacLean said that the contour content is
said that the contour content is
said that the contour content is redefining the conversation about
redefining the conversation about
redefining the conversation about Canadian art for 21st century audience
Canadian art for 21st century audience
Canadian art for 21st century audience so we’re very very proud about where we
so we’re very very proud about where we
so we’re very very proud about where we are going I want to conclude by going
are going I want to conclude by going
are going I want to conclude by going back to where I started by saying
back to where I started by saying
back to where I started by saying explaining to you that art really is a
explaining to you that art really is a
explaining to you that art really is a fundamental human right and it is
fundamental human right and it is
fundamental human right and it is something that should be accessible to
something that should be accessible to
something that should be accessible to all but here is a quite amazing
all but here is a quite amazing
all but here is a quite amazing statistic only 5% of public museum
statistic only 5% of public museum
statistic only 5% of public museum collections is actually on view and on
collections is actually on view and on
collections is actually on view and on display so if you go to the Art Gallery
display so if you go to the Art Gallery
display so if you go to the Art Gallery of Ontario what you’re seeing is only 5%
of Ontario what you’re seeing is only 5%
of Ontario what you’re seeing is only 5% most museum collections are actually
most museum collections are actually
most museum collections are actually underneath the museum in vaults like
underneath the museum in vaults like
underneath the museum in vaults like this one that this is a picture of a
this one that this is a picture of a
this one that this is a picture of a museum vault and so where is the art
museum vault and so where is the art
museum vault and so where is the art Canada Institute going where are we
Canada Institute going where are we
Canada Institute going where are we moving in our direction we’re still in
moving in our direction we’re still in
moving in our direction we’re still in nascent organization we’re moving away
nascent organization we’re moving away
nascent organization we’re moving away from this model a model of put stuff out
from this model a model of put stuff out
from this model a model of put stuff out there in a bricks and mortar institution
there in a bricks and mortar institution
there in a bricks and mortar institution and people will come and we’re moving to
and people will come and we’re moving to
and people will come and we’re moving to something like this building a huge
something like this building a huge
something like this building a huge database of all of the works in Canadian
database of all of the works in Canadian
database of all of the works in Canadian art
art
art Canadian art history so that everybody
Canadian art history so that everybody
Canadian art history so that everybody will be able to have access to the
will be able to have access to the
will be able to have access to the conversation about Canadian art so
conversation about Canadian art so
conversation about Canadian art so everybody feels comfortable with it and
everybody feels comfortable with it and
everybody feels comfortable with it and so ultimately we all participate in what
so ultimately we all participate in what
so ultimately we all participate in what is a fundamental human right thank you
is a fundamental human right thank you
is a fundamental human right thank you [Applause]
”
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