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Opening on Thursday, April 9 and continuing to Sunday, April 26 is this year's look at the graduating class from the Fanshawe College Fine Art Program. Their exhibition, VOLUME, features artwork by 30 students who have completed the three year diploma program in studio art. The diversity of their studies is represented in the wide variety of media included in the exhibition: acrylic, oil and watercolour paintings, graphite drawings, digital photography, bound books, video and sculpture.

Representatives of the class will lead a free, public walking tour of the exhibition on Tuesday, April 14 at 12:30 pm.

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DID YOU MISS THE CBC ANTIQUES ROADSHOW WHEN IT WAS IN LONDON?

presented by the Rotary Club of London East in association with the McIntosh Gallery, Western

Westmount Shopping Centre on Saturday April 25th (9 am - 4 pm).
Over twenty of this area's top appraisers will be there to provide background information, advice and a verbal evaluation on a wide range of antiques and collectibles including silver, china, glass, furniture, pottery, textiles, vintage recordings and musical instruments, books, documents, cameras and optical equipment, art, clocks, semi-precious stones, ivory, toys and dolls, jewellery, pocket watches and stamps. No guns please. Among the participating appraisers are Grant Gardner (Gardner Galleries), David Clarke (Grooves), Jens Thielsen (Thielsen Galleries), Jim Poag (Poag Jewellers), Marvin Post (Attic Books) and Michael Locke (Locke's Lapidary).

This is a collaborative fundraiser to support the Rotary Club of London East and McIntosh Gallery, Western.

Tickets are available at McIntosh Gallery, Anthony's Mens Wear (Cherryhill Village Mall), Poag's Jewellers (Strathroy) or at the door.

Appraisals available throughout the day from 9 am until 4 pm on the upper level of Westmount Shopping Centre. A special check-in desk will open at 8:30 am for advance ticket holders.

For more information, contact John at: 519-641-3929 or see www.mcintoshgallery.ca

FANSHAWE FINE ARTS GRADS TURN UP THE VOLUME!

Opening on Thursday, April 9 and continuing to Sunday, April 26 is this year's look at the graduating class from the Fanshawe College Fine Art Program.

Their exhibition, VOLUME, features artwork by 30 students who have completed the three year diploma program in studio art. The diversity of their studies is represented in the wide variety of media included in the exhibition: acrylic, oil and watercolour paintings, graphite drawings, digital photography, bound books, video and sculpture.
Please join us on Thursday, April 9 at 7:30 for the opening celebrations with
guest speaker Greg Murphy, Chair of the School of Contemporary Media, Fanshawe College.
Representatives of the class will lead a free tour of the exhibition on Tuesday, April 14 at 12:30 pm.

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DID YOU MISS THE CBC ANTIQUES ROADSHOW WHEN IT WAS IN LONDON?

ANTIQUES APPRAISAL DAY

Presented by the Rotary Club of London East in association with the McIntosh Gallery, Western

This is a collaborative fundraiser to support the Rotary Club of London East and McIntosh Gallery, Western.

Tickets are available at McIntosh Gallery, Anthony's Mens Wear (Cherryhill Village Mall), Poag's Jewellers (Strathroy) or at the door.

Appraisals available throughout the day from 9 am until 4 pm on the upper level of Westmount Shopping Centre. A special check-in desk will open at 8:30 am for advance ticket holders.

EXHIBITIONS EXPLORE MOHAWK LANGUAGE, ART AND FIRST NATIONS' STUDENT EXPERIENCE AT WESTERN

Opening March 5 at 7:30 pm and continuing until April 5 are two exhibitions which explore First Nations experience, culture, language and art.

In Tekawennànote (Pictures That Speak), DAVID KANATAWAKHON combines Mohawk pictograms, painted panels and interactive computers to explore the relationship between the Iroquois language, its speakers and their practice in comparison to non-Iroquoian speakers. Encircling the exhibition space will be painted pictograms of the language which forms part of an elder's address at the beginning of a gathering. Visitors will be able to hear a pronunciation of each pictogram by clicking on a corresponding panel on a computer screen. Completing the installation will be painted earth-sky symbols in various configurations.

David Kanatawakhon is a London artist and member of faculty in Anthropology (Centre for Research and Teaching of Canadian Native Languages).

A collaborative project with the Indigenous Services Learning Resource Centre, THROUGH MY EYES documents the experience of First Nations students at Western in their own photographs. All submissions were considered by a three-person jury chosen from London's artistic community and the resulting exhibition features a variety of engaging images by seven student photographers: Bev Antone, Cordelia Antone, Elaine Antone, Joe Restoule General, Anthony Isaac, Carla Mishibinijima, and Tisha Summers.

Please join us for the opening celebrations on Thursday, March 5 at 7:30 pm with remarks by Dr. Paul Davenport, President and Vice-Chancellor.
David Kanatawakhon will lead a free, public tour of his exhibition on Tuesday, March 10 at 12:30 pm.

EXHIBITIONS EXPLORE MOHAWK LANGUAGE, ART AND FIRST NATIONS' STUDENT EXPERIENCE AT WESTERN

Opening March 5 at 7:30 pm and continuing until April 5 are two exhibitions which explore First Nations experience, culture, language and art.

David Kanatawakhon is a London artist and member of faculty in Anthropology (Centre for Research and Teaching of Canadian Native Languages).

Reaching for My Degree
Bev Antone

Storm marches eastward
Carla Mishibinijima

First Nations' Field of Dreams
Cordeila Antone

Gently Walking
Elaine V. Antone

Blanket
Joe Restoule General

Me
Tisha Summers

Catching My Dreams
Anthony Isaac

Marlene Creates: Signs of Our Time

Opening: Thursday, January 15 at 5 pm with artist present

Thursday, January 15 - Sunday, February 22.

Wherever humans interact with the landscape, they mark and control their presence through signs. The exhibition Marlene Creates: Signs of Our Time documents the interaction of language and landscape, through photographic installations created over the course of a decade by Marlene Creates, a contemporary photo-based artist from Newfoundland. This nationally touring exhibition opens at the McIntosh Gallery on Thursday, January 15 at 5 pm and runs until Sunday, February 22.

“The photography-based art of Marlene Creates has long dealt with the relationship between marking and landscape,” writes curator Robin Metcalfe. “Her photographs function as a means of documenting that relationship and posing critical questions about how our perceptions of the land are constructed through language.”

Marlene Creates became known first for her subtle interventions in the landscape and the resulting photographic documentation. This led to installations based on representations of the land in text, drawings, photographs and found objects and to photographic series documenting public signs as marks in the landscape.

Works in the exhibition range from Language and Land Use, Newfoundland 1994 to Cues for Sightseers, Yukon 2003. A bilingual catalogue is available with essays by world-renowned art critic Lucy Lippard and exhibition curator Robin Metcalfe.

The exhibition Marlene Creates: Signs of Our Time is produced and circulated by Saint Mary's University Art Gallery, Halifax, in collaboration with the Provincial Art Gallery, The Rooms, St John’s and Tom Thomson Memorial Art Gallery, Owen Sound. It is supported in part by the Canada Council for the Arts and by a contribution from the Museum Assistance Program, Department of Canadian Heritage.

Make it an ART Evening! Come to the Marlene Creates opening, have supper at the Grad Club
(10% off the $10.95 dinner special with coupon from the McIntosh) then walk to the John Labatt Visual Art Centre
for artist Stan Denniston’s talk at 8 pm.

FREE PROGRAMS:
Friday, January 16 at 12:30 pm Walking tour of the exhibition by Marlene Creates
Tuesday, January 27 at 12:30 pm Dr. Jeff Hopkins, Dept of Geography, on "Place, Placelessness and Identities"
Tuesday, February 3 at 12:30 pm Concert by Don Wright Faculty of Music Chamber Ensemble

Marlene Creates: Signs of Our Time

Thursday, January 15 - Sunday, February 22

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McIntosh Gallery & Indigenous Services, Western invite submissions for

THROUGH MY EYES

A Juried Exhibition of photo-based Art open to all Indigenous Students registered at
The University of Western Ontario.

This exhibition is intended to inform the Western community of the experiences of indigenous students while attending Western.

The choice of images is up to the student - the Thames River, streets, buildings, friends, on or off the campus - anything that reflects the student's experience at Western. Photographs must have been created within the last two years.

Up to five photographs may be submitted. Each entry must be accompanied by a 1-3 paragraph artist's statement/narrative which describes the experience depicted (a maximum of 200 words).

Selected submissions will be exhibited at the McIntosh Gallery from March 5 to April 5, 2009.

Entry forms are available at the Indigenous Services Learning Resource Centre or on-line:

Submission Deadline: Friday, February 13 at 4:00 pm.

Criteria for selection will include the quality of the images and the relevance of the artist's statement/narrative to the images submitted. All submissions will be acknowledged by email upon receipt and will be considered by the selection jury. Standard anonymity procedures will be used to support the jurying process.

All entrants will be informed by email following the jury selection. Selected entries will be mounted for presentation.

All selected entries are eligible for prizes:
1st prize - 250.00
2nd prize - 200.00
3rd prize - 150.00
4th prize - 100.00
5th prize - 100.00

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On Monday, May 5th, the Gallery's staff more than doubled with five new grant-funded positions.
David Bobier and Brian Wellman have been hired as Registrar's Assistants through the Job Creation Program through the Ontario Ministry of Training, Colleges and Universities. Through the next 12 months, David and Brian will assist Registrar Brian Lambert in the management, care and general administration of the Gallery's 3,500 art objects.

Katherine McFadden, Caitlin McCullough and Stephanie Liokossis have been hired through the Young Canada Works In Heritage Organizations administered by the Canadian Museums Association for 16 weeks. Katherine is a Curator's Assistant working on securing the applicable copyright documents for over 500 artworks in the Gallery's Collection. As Registrar's Assistants, Caitlin and Stephanie will assist Brian Lambert in digitally documenting approximately 1,000 artworks in storage and around the campus.

The McIntosh Gallery is grateful to the Ontario Ministry of Training, Colleges and Universities, Young Canada Works and the Canadian Museums Association for funding these positions which will enhance public access to the Gallery's Collection and provide meaningful career-related work.

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McIntosh Gallery & Indigenous Services, Western invite submissions for

THROUGH MY EYES

A Juried Exhibition of photo-based Art open to all Indigenous Students registered at
The University of Western Ontario.

This exhibition is intended to inform the Western community of the experiences of indigenous students while attending Western.

Please click here for the entry form

Please click here for more information

FRACTURED REFLECTIONS

DAGMAR KOVAR: SILENCE
DON MAYNARD: FALLING TO PIECES
November 6 - December 7, 2008
Opening: Thursday, November 6 at 7:30 pm

Don Maynard will lead a free walking tour of his exhibition on Friday, November 7 at 12:30 pm.

Dagmar Kovar will also lead a free walking tour of her exhibition on Tuesday, November 11 at 12:30 pm.

Please click Here for the invitation to the show.

Please click Here for more information on the above Exhibitions.

FRACTURED REFLECTIONS

DAGMAR KOVAR: SILENCE
DON MAYNARD: FALLING TO PIECES
November 6 - December 7, 2008
Opening: Thursday, November 6 at 7:30 pm

EXHIBITION EXAMINES PRESENCE OF SILENCE

In a world filled with a constant concoction of noise--traffic, television, iPods and cell phones--unexpected silence has become a rare circumstance, its presence often creating anxious distress. And then there is the internal noise of continual thought, negotiating the countless everyday details of contemporary life. In their separate but related exhibitions, London artist Dagmar Kovar and Kingston artist Don Maynard examine ideas around silence-- as an opportunity for reflection, as healing for the human psyche, as a calm and mysterious force.

Ms. Kovar's suspended hangings appear vulnerable, like delicate captives ensnared in bindings restricting their movement and rendering them susceptible to any external force. Still, the intertwined fibres have an inherent strength which, like the proverbial willow, bend and endure in adversity. In contrast, Mr. Maynard’s room is filled with whirling shards of mirror, a contradiction of fragility and menace. They too are fixed in place yet seem in constant motion by the activation of our reflected presence. We are momentarily recorded and then vanish only to reappear in other fragments.

Originally from Bohemia, Dagmar Kovar has been exhibiting in London and other Ontario locations for 8 years.

She describes her knowledge in art as coming from observations of people and everyday life, reading, research, countless experiments and mistakes.

Don Maynard lives and works in Kingston, Ontario and has exhibited in numerous galleries throughout Canada and the United States. His work

frequently addresses political and environmental concerns, such as environmental degradation and its political ramifications, and human rights issues.

Everyone is invited to the opening on Thursday, November 6 at 7:30 pm when the artist will be present.

Don Maynard will lead a free walking tour of his exhibition on Friday, November 7 at 12:30 pm.

Dagmar Kovar will also lead a free walking tour of her exhibition on Tuesday, November 11 at 12:30 pm.

Hinterlands

September 18 - November 2, 2008

FASTWURMS, Sky Glabush, Diana Thorneycroft, Colette Urban
Opening: Thursday, September 18 at 5:00 pm
Curated by Patrick Mahon

Kicking off the new academic year is an exhibition curated by Patrick Mahon, Chair of the Department of Visual Arts. FASTWURMS was formed in 1979 by Kim Kozzi and Dai Skuse, and is the trademark and joint authorship of these Toronto/Creemore-based multidisciplinary artists. Sky Glabush is an Associate Professor in the Department of Visual Arts at The University of Western Ontario who has had numerous exhibitions in public galleries throughout Canada. Winnipeg artist Diana Thorneycroft has exhibited across Canada, the United States and Europe and her work has been the subject of a CBC national television documentary. Colette Urban, who has performed her works across Canada and in The Netherlands, established Full Tilt Creative Centre in McIvers, Newfoundland in 2006. Patrick Mahon works on print-based projects as an artist, writer and curator, has exhibited across Canada and in China and held a residency in New York in 2007.

Patrick Mahon describes /Hinterlands/ as "focussing on the works of 5 contemporary Canadian artists who mine the potential of distant and "unseen" places as zones of myth making and encouraging psychological disclosure. Each of the 4 projects represented in the exhibition is predicated on the notion of a place partially understood to be "out there", while it betrays a readiness to be encountered as strangely familiar. Through painting (Glabush), photography (FASTWURMS, Thorneycroft) and video and performance-installation (Urban), the artists of /Hinterlands/ bring the periphery to the centre, maintaining a fascination for the particular and psychologically charged qualities of places that are just beyond the reach of everyday experience. The artists of Hinterlands propose our re-consideration of the potential of "lost" zones to engage for the purposes of play, psychological speculation and cultural and environmental criticism."

Everyone is welcome to join the opening celebrations between 5 and 8 pm on Thursday, September 18 when all the artists excepting Diana Thorneycroft will be present.

In a special free preview on the exhibition, Diana Thorneycroft will present a talk at Michael Gibson Gallery, 157 Carling St, London on Saturday, September 6 at 2 pm.

Other free artist talks at the McIntosh Gallery:
Friday, September 19 at 12:30 pm Colette Urban and FASTWURMS
Tuesday, September 23 at 12:30 pm Sky Glabush

BARE
Performance
Created at Full Tilt, McIver's, Newfoundland, 2008
DVD 2 min loop
polar, colour photograph - 50 x 160 cm (detail)

Getaway Cars, Safe Houses, Lookouts
1999-2000
Analogue photographs w/ magic marker text.

Letter From the Director, Arlene Kennedy:

This early Spring newsletter is to let you know of my long-planned retirement this May. Although I have had the great honour and pleasure of being the Director of the McIntosh Gallery since 1989, my career with the McIntosh Gallery really began in 1978 when then Director Maurice Stubbs hired me as the Curator through a then new Ontario Arts Council peer-juried competitive granting program that we are proud to say has been maintained unbroken ever since.

My personal highlights of rewarding projects we shared with you over the last nineteen years include: ten public site-specific artworks on Western’s campus; creation of the collection Storage& Study Centre at Althouse College; Traveling Theory, an exhibition exchange initiated by Jamelie Hassan and Ron Benner in 1990-91 between London Ontario artists and the National Gallery of Jordan; Galleries @ the Galleria, a three year presence in a city centre mall in collaboration with the Forest City Gallery and London Regional Art & Historical Museums;; Steel the Sculptor and Engineer exhibition; an Art & Architecture exhibition and conference; Playing the Gallery: the art of games 2007 international symposium and ongoing use of the Collection in a ‘serious game’ as an interpretive and educational tool on-line; and three Open Air London public art festivals since 2001 that resulted in a higher profile for our vibrant visual arts scene as London strives for recognition as a ’creative city’. With the implementation of our new five year Strategic Plan beginning this May, the McIntosh Gallery will continue to be recognized as one of Canada’s treasures and valued locally as an integral component of the educational and cultural communities.

For those who cannot attend the official University of Western Ontario farewell event on Thursday, April 24 from 4:00 to 6:00pm in the McIntosh Gallery, please join us for an informal open house hosted by the McIntosh Gallery Committee and our Chair, Madeline Lennon, in the Gallery on Sunday April 20* from 2:00pm to 4:00pm. Donations are invited with the enclosed form for a new Director’s Special Initiatives Endowment that has been created at Foundation Western to support projects of future McIntosh Gallery Directors in perpetuity.

Thank you for your confidence throughout my tenure and for your continued support of the McIntosh Gallery at the heart of Western.

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Travel plans in your future? Check out the art books on world-wide collections and famous monuments in the McIntosh Gallery library, lower level offices including the Uffizi in Rome, the National Gallery in London, the Victoria and Albert Museum and Russia's Hermitage Museum.

We also have many reference books and art exhibition catalogues, (over 350 published by the McIntosh Gallery), for in-house use only on art history, auctions, artist indexes, dictionaries, making art or art gallery and museum policies, practice, theory and professions like conservation, collections management, administration and even forgery!

Just drop in Monday to Friday, 9:15am to 5:00pm or call/email ahead to be sure the office/library is not already booked for other functions or meetings.

The Spectacular McIntosh Art Book Sale

Our Students have spent the summer sorting our collection of books, journals and calalogues. They identified many duplicates, as well as books not related to our collection. Don't miss this opportunity to add to your personal library.

Books and Catalogues will be priced by the centimeter, while periodicals will be 25 cents each.

The University of Western Ontario Department of Visual Arts Masters of
Fine Arts Graduation Exhibition

Opening Friday, August 15 and continuing to Sunday, September 14 are two separate but related exhibitions by two members of the UWO Department of Visual Arts Masters of Fine Arts program.
These exhibitions mark the culmination of two years of intensive graduate study and a masters level thesis in the studio program.

Liv Bonli describes her " houseworks" exhibition as drawings and a sculptural installation exploring the house as a potential site of both familiarity and estrangement.
Matt Sparling's "Makeshift Armies and Wayward Sons" presents a collection of large composite photographs and nearly life-sized portraits. It explores a near-future where anachronistic layers of history intersect with fashion, family, and the end of the world.

Everyone is welcome to attend the opening night celebrations on Friday, August 15 from 7 - 9 pm when both artists will be present.

Opening Thursday, June 26 and continuing to Sunday August 10 is an exhibition examining a number of new acquisitions to the McIntosh Gallery Collection.
Selected from donations over the past two years, the exhibition uses a National Gallery of Canada model which surrounds each new art work with artworks previously held in the Collection. This provides a context for how the new artwork expands our knowledge about the artist's career, working methods, subject matter and artistic investigations.
Among the artists represented are John Boyle, Greg Curnoe, Joseph Hubbard, Doug Mitchell, Thelma Rosner, and Montreal artist John Schweitzer.
One new addition, Homage to George and Everybody Else 1967 by former London artist John Boyle, is an outstanding example of the artist's early constructed paintings with a whimsical mixture of Canadian icons and references to his own life. It is organized on two vertical hinged panels supported by plastic wheels which allow for its manipulation by the viewer. As the title suggests, the main subject is George Chuvalo, the famed heavyweight boxer who was never knocked out in 93 professional fights. The "Everybody Else" includes French writer and filmmaker Robbe Grillet, Indian sitarist Ravi Shankar, Mohawk master lacrosse stick maker Joe Logan, and historian Bertrand Russell. Boyle also integrated a Sopwith Snipe like that used by Canadian flying ace Billy Bishop, a Vietnam-era helicopter, and a mouse that lived in his public school classroom.
The exhibition will open at noon on June 26th (coincidentally the Gallery's 66th birthday!)

The McIntosh Gallery hosts the next phase of the River Project in an exhibition opening on Thursday, May 15 at 7:30 pm. with nearly all the artists present. This exhibition is the culmination of over two years of work by nineteen London artists who have responded to a portion of the Thames river as it flows through the City of London. Each of them celebrates a different section through a variety of media including painting, sculpture, prints, and poetry. It is of especial interest at a time when this community is engaged in the Creative Cities initiative which includes the unique waterway which has always been a part of our historical, cultural, and economic life. A special commemorative book has been generously supported by The Trillium Foundation and will be available for sale.

Everyone is welcome to meet the participating artists:
Helmut Becker
Kevin Bice
Alan Dayton
Jason Dickson
Marion Drysdale
Herman Goodden
Ted Goodden
Kim Harrison
Cornelia Hoogland
Ray Jackson
Kirtley Jarvis
Johnnene Maddison
Ron Milton
Rob Nelson
Annemarie Plint
Jennifer Robertson
Margaret Rossiter
Maurice Stubbs
Iris Waddell

Cornelia Hoogland will also present a special poetry reading of her work.
In addition, everyone is welcome to attend the Free Walking Tours
Tues. May 20 at 12:30 pm by Kevin Bice
Tues. May 27 at 12:30 pm by Kirtley Jarvis and Herman Goodden
June 3 at 12:30 pm by Michael Baker (Curator of Elgin County Museum)

How do we gather information about our surroundings? Visual perception
is only one of the ways possible yet, for most people, it is the
preferred and only method. Opening March 6 and continuing to April 6,
2008 is an exhibition which addresses the Blind Culture in its
exploration of alternate ways of seeing for sighted visitors while being
accessible to the visually impaired. All works can be seen through
touch, sight, smell and sound.

Organized and circulated by the Glenhyrst Art Gallery of Brant, it
assembles artists from Canada, the United States and Britain. Among
them are Erika James of Toronto who has created a series of textile
toys that can punched, poked and sat on and Max Streicher of Toronto who
offers giant, inflated figures of babies large enough to tower over
visitors. Vancouver artist Meg Lauder presents eccentric eye patches as
decorative wearable art. Also included are mixed media sculpture and
paintings, stained glass windows and audio works.

MINTY FRESH:
FINE ART GRADUATING CLASS FROM FANSHAWE COLLEGE DISPLAYS ACCOMPLISHMENTS

The annual exhibition of graduating students from the Fanshawe College
Fine Art Program will open at the McIntosh Gallery on Thursday, April 10
at 7:30 pm. Special guest speaker will be internationally-recognized
Canadian artist Matthew Carver.

This has become a year-end tradition as some of London's newest artists
proudly display the results of three years of study and experimentation.
The exhibition title, "Minty Fresh", reflects the newness of their
artwork and their own artistic practices as the 22 students feature
drawing, painting, sculpture, photo-based artwork and printmaking.

On Tuesday, April 15 at 12:30 pm, representatives of the graduating
class will lead a free, public walking tour of the exhibition to discuss
the artworks and answer questions.

2. Josh Peressotti
The Long and Short of It
Graphite, Watercolour on Mylar
706cm x 88cm

Thursday May 31st 4 - 8 pm Stevenson- Lawson Building Room 330, The University of Western Ontario

Each presenter will be given 15 minutes with a 5 minute Q & A period with members of the Strategic Planning Committee

We are interested in five core areas related to the McIntosh Gallery:
1. Vision, Mission and Mandate
2. Governance and Management
3. Internal and External Relationships
4. Programming and Collection
5. Resources

The terms of reference guiding the strategic planning process are available at www.mcintoshgallery.ca Please refer to that document for specific areas of inquiry related to each of the five elements noted above. Additional background documents are also available at that link.

Written submissions may be sent to Joyce Garnett, Chair, McIntosh Gallery Strategic Planning Committee, C/O Maura Crilly, mcrilly@uwo.ca , Office of the V.P. (External), Stevenson- Lawson Building, The University of Western Ontario,
London, Ontario, N6A 3K7

Introduction
Mission
Aims
History
Structure/Governance
Artistic Policy & Role
Constituency
Community Contributions
Service
Facilities
Staff

Community Outreach
Special Projects
Fundraising and Grants
Gifts In Kind
The Collection
Programming/Exhibitions

The McIntosh Gallery has just completed 64 years of service since Wilhelmina McIntosh donated her collection and estate to Western and enabled the Gallery to be built in 1942. This bequest is a legacy for all time, growing more relevant to all generations that experience the continuity of art and ideas of the past and of their own time.

Support from The University of Western Ontario as our primary audience and community is essential for the continued success of the McIntosh Gallery as a collecting and exhibiting public art gallery.

Introduction
The McIntosh Gallery, the Collection, the staff and research materials are increasingly seen as a core resource and a catalyst for collaborative and co-operative initiatives that reach out to the University and the broader community in new ways. Partnerships continue to be forged: with the London community, the Open Air initiative of public art festivals; collaborative exhibitions with the Forest City Gallery, Chatham Cultural Centre, Tom Thomson Memorial Art Gallery, Gallery Lambton and others.
Mission: The mission of the McIntosh Gallery is to affirm the artistic and
educational qualities of visual culture through collecting and preserving art and by presenting innovative, scholarly and culturally inclusive programs in a stimulating and informative way to the varied audiences of The University of Western Ontario and the broader community.
Aims
* to cultivate the appreciation of art through exhibitions, publications and art in public places
* to make art part of the everyday life on campus with Artshare and programs
* to encourage visual literacy and critical visual awareness
* to make our visual heritage accessible to all

Through the active creation and dissemination of knowledge and alternative ways of seeing, the McIntosh Gallery provides learning opportunities and first-hand experience of one-of-a-kind works of art. It encourages the interaction of the visual arts with other disciplines through ongoing collaborations with a variety of partners, both on campus and beyond. The McIntosh Gallery offers a unique alternative in London and the region. It occupies the middle ground between the general community programming of large municipal art galleries and the more specialized interests of artist-run centres and academic units such as Western's Visual Arts Department or Fine Art at Fanshawe College. It is a window on Western for our audiences as well as a vehicle to experience the art of our time through our programs and collections. The McIntosh Gallery enhances Western's mission by challenging critical consciousness, engendering creative enquiry and espousing intellectual freedom and human values.

History
The oldest university gallery in Canada, the McIntosh Gallery was established in 1942 as a bequest of Wilhelmina McIntosh. During the 1960s, the Gallery's exhibitions, programs and collection were managed by various artists-in-residence, until the first professional Curator was hired in 1969. Since then, the Gallery has presented a continuous schedule of exhibitions and programs including traveling exhibitions that focus on contemporary art and artists. The collection exceeds 3,200 objects, over 1,100 of which are on rotating display across campus. The McIntosh Gallery turned 60 in June 2002, when a planned giving and endowment fundraising campaign was launched. Five significant planned gifts have been received to date.

Structure/ Governance
Total employees number 3.25. In a typical year, over 90 volunteers enhance all operations giving over 2,200 hours a year. A standing committee of the UWO Board of Governors with six members at large, and six appointed by the Board, oversees policies and functions as a Board of Directors, while the Vice-President (External) is the Director's direct report, responsible for administrative operations. There is also an Acquisitions Committee of eight and special events/fundraising committees. Western provides an annual subsidy of approximately 40% of the total budget of the Gallery, not including a gift in kind of annual exterior maintenance, some insurance costs, cleaning and utilities.

Artistic Policy & Role
The curatorial direction emphasizes local artists paired with artists from other communities and contexts and, where resources allow, at least one traveling exhibition a year, often national or international, of local artists accompanied by scholarly publications. The collection policy focus is on artists of this region and their influences. Active donor cultivation to fill gaps and frequent art commissions add to the Collection.

Constituency
London, population 371,000, is part of the densely populated region of Southwestern Ontario. Over five million people reside within a 200 mile radius. London is also midway between Detroit and Toronto on a direct well-used corridor. McIntosh Gallery audiences include: the University community of over 33,000 students, faculty and staff; the broader London area community of 371,000; a general audience which is increasingly exposed to images of the contemporary art world and seeks access, analysis and understanding; the more specialized community of artists, Fanshawe College, H.B. Beal Secondary School art students, elementary and secondary school teachers, art and museum professionals, critics, writers, and collectors who also support and contribute to the dialogue. Audiences are developed through programs that draw upon the unique resources at Western and are shared in outreach and collaborative projects.

Community Contributions
Collaborations include three city-wide Open Air public art celebrations. Bikes, Benches, Canoes & Beyond in the of summer 2001 was organized with over 30 partners. The 2004 theme was Gateways & Gardens and planned for summer 2006 is the theme of Art and Architecture.

Other collaborations were: London Public Art Policy generation and London Arts Council municipal arts grants process and the Landmarks London heritage grants process; Celebrate 150 Committee for London's birthday in 2005; curriculum support for Visual Arts, Anthropology, Engineering (artist in residence started in 1990), Theory & Criticism, Brescia College, Education, Ivey Business, Public History, Women's Studies, English and Religious Studies; shared projects with Museum London, Forest City Gallery, Beal S.S. Special Art, Fanshawe College, Thielsen's and Gibson's commercial galleries; exhibitions, seminars, symposia, visiting artists and curators, publications, student projects, lectures for UWO Visual Arts and Fanshawe Fine Art Departments; Human Resources and Skills Development Canada employment training grants, Western Part Time and Continuing Education practicums, work bursary students, ten Fanshawe Fine Art internships and special academic projects.

Service
The McIntosh Gallery was a founding member of the London Arts Council and the director has been a juror for City arts grants for the last six years and for Landmarks heritage grants over the last two years and served with the Canadian Art Museum Directors Organization to negotiate with Canadian Artists' Representation copyright fees for artists; the Curator conducted school tours and talks; hosted visiting artists and curators; participated in Community TV and radio shows; is a third party recommender for Ontario Arts Council grants to artists; staff provided advice to artists, donors and collectors; provides talks, juries, committee work in London and beyond where staff shares expertise and experience with organizations and individuals; provided ongoing participation in policies, counseling and employment conditions with the UWO Professional and Managerial Association and well as Western's conflict resolution committee for the PMA.

Staff conduct ongoing donor cultivation and management; make available the unique collection and records for study and research: facilitate loans to other public art galleries and reproductions for publications; and generate art commissions and public art installations on campus (125th legacy site specific Fastwurms commission for 2003-2004; Doug Mitchell millennium commission 2000-2001; David Magee in 1998; Jamelie Hassan wall mural in 1997; Katherine Knight and Mark Adair in 1996, relocated adjacent to the Gallery in 2001; Susan Day wall mural in 1995; Rinehard Reitzenstein for our 50th birthday in 1992-93; Ed Zelenak in 1992 ).

Facilities
The oldest purpose-built public art gallery at a Canadian university, the McIntosh Gallery was built in 1942. It was upgraded in 1999/2000 with an exhibition space of 3,000 sqare feet and 200 running feet and 5 rooms that are police monitored with alarm security, gallery attendants and video monitors and operated according to museological standards of environmental controls. The offices in the lower level of Gallery are also alarmed. There are holdings of full collections records management, including archives, a research library, slides and D-base. There are also environmentally controlled, high-density storage racks and an alarmed Collection Storage/Study Centre at Althouse College, a 1,620 square foot facility, also created in 1999/2000.

Staff
Arlene Kennedy, Director, M.A., Hon. B.A., Dip. Ed., has twenty-six years' experience as a museum professional, twenty-four as a Director of two public art galleries. Catherine Elliot Shaw, Curator, M.A., Hon. B.A., has twenty-seven years' experience as a Curator. David Falls, Installations Officer and Registrar, B.A. has twenty-eight years' experience as a preparator and fifteen as a registrar. Susan Skaith, Secretary, Dip. Secretarial Science, has twenty-four years' experience as an employee with the McIntosh Gallery.

Both the Director and the Curator continued their numerous volunteer roles for various community groups. The Director joined the University Staff Recognition Task Force, was an invited member of London's 150th Celebrations 2005 Committee, a member of the London Public Art Policy Committee, an adjudicator for the $200,000 City of London Arts Grants, served on Landmarks London Committee of the City of London Planning Department and was an adjudicator for Landmarks City Heritage grants and is an active member of the Canadian Art Museum Directors Organization, (one of three negotiators for new artist fee schedules), the Canadian Museums Association,(advocacy for a new National Museums Policy), the Association of Cultural Executives, the Canadian Conference for the Arts, the Canadian Association of Gift Planners and the Canadian Association of University Art Galleries(Copyright committee).

The Curator presented 2 illustrated slide lectures for area interest groups and conducted the annual jurying for the Clark McDougall Scholarships through the St. Thomas-Elgin Public Art Centre as well as their first annual National Student University/College Art Competition. She continued to mentor colleagues in nearby regional galleries on matters relating to exhibitions, gallery-artist relations, advocacy, fundraising, publishing, and applications to the Canadian Cultural Property Export Review Board. The Curator is an ongoing member of the Support Group of Western's Professional and Managerial Association in which she assists university co-workers on work-related problems.

The Curator was contributing editor for the catalogue for the exhibition Ed Zelenak: Recent Work which toured throughout southwestern Ontario to the Thames Art Gallery, Gallery Lambton, arriving at the McIntosh Gallery in September 2005. The McIntosh Gallery also continues to assist artist Johnnene Maddison to extend the tour of her exhibition Johnnene Maddison: Over Here which was a collaboration between Gallery Lambton, Thames Art Gallery and the McIntosh Gallery. The Canadian War Museum has recently booked it for 2007.

Collaborating with Alumni Programming, the Curator facilitated a talk by London artist Rosemary Sloot to a group of Sarnia-area alumni during her exhibition at Gallery Lambton. West Lorne artist Walter Redinger invited the Curator to be an on-camera interviewer for a video documentary on his life and work. The final version may be aired on Bravo! or TVO. In conjunction with the exhibition Agneta Dolman: Our Home and Native Land, the Curator contacted all international student associations and invited them to provide displays on their culture and contributions. They were also invited to participate in a special Open House hosted by the Gallery with the artist in attendance.
During the year, the Curator had 3 interns from the Department of Visual Arts and the Faculty of Information and Media Studies. The students, including for the first time a graduate student, completed particular projects for the Gallery including research on the Collection, marketing and two visitors surveys.
3. Notable Achievements

Community Outreach
A Human Resources and Skills Development Canada employment training grant was received to hire three full time coordinators for a third London public art festival. Open Air III: Art & Architecture is planned for downtown London in summer 2006. Ten Fanshawe College Fine Art student interns worked the fall term at the Gallery.

Special Projects
The Canadian Cultural Property Export Review Board has begun to conduct the first review in decades of the McIntosh Gallery status as a Category A institution and staff are providing updated information on renovated exhibition and Collection storage facilities, environmental controls, security provisions and the monitoring, use and care of the Collection.

For the second year, Talk Tuesdays incorporated Gallery exhibition walking tours with the artists and casual discussions on related topics with local experts and free refreshments at lunch time.

Fundraising and Grants
The McIntosh Gallery was once again invited to partner with the Walter & Duncan Gordon Foundation Challenge starting in 2005 for new art acquisitions. This program consists of an initial $5,000 gift, with an additional $10,000 matching fundraising challenge for new donations. The $10,000 donations goal was achieved early in 2006 and in January 2007application will be made to the Canada Council Acquisitions Fund for matching funds for a grand total of $50,000. Purchases will be made primarily of underrepresented art and artists of our region.

A new Conservation Fund appeal was also begun to help rehabilitate art in special need of restoration. The Collection is a living resource that grows with the creative community. As Western expands post-graduate programs, the value of this primary research material through original art and archives will enhance the student experience.

Competitive peer juried grants were received from the Ontario Arts Council, ($25,000), and the Canada Council for the Arts, ($32,000 - one of only 17 Canadian university galleries to do so.) The Ontario Arts Council Jury comments commended the McIntosh Gallery for "doing so much with so little"; collaborating, reaching out to the broader community in ways that take risks and stretch beyond our normal scope of activity, including circulating exhibitions; encouraging rigorous artistic criteria, especially with emerging artists and demonstrating solid planning and partnerships, both on campus and beyond.

Audited financial statements from the Ontario Arts Foundation were received for the McIntosh Gallery Endowment in support of operations, the Collection and programs. Capital of $272,083 made a payout of $13,712 in April 2006.

The seventh Annual McIntosh Gallery Antique Appraisal Day fundraiser at Cherryhill Village Mall was held on Saturday, April 22nd. Twenty expert appraisers in various generated a gross income of $4,280. The Fifth Annual Maysale in 2005 raised $7,082 and in May 2006 raised over $12,000.

16 employment grants included four Work Bursary Students from May to September 2005, ten Work Bursary Students from September 2005 to April 2006, one Ministry of Culture & Immigration Summer Experience Student grant, three full time Human Resources and Skills Development Canada Job Creation positions for January to November 2006, one summer student Human Resources and Skills Development Canada and one Young Canada Works summer student grant through the Canadian Museums Association.

Contributions to Open Air III: Art & Architecture included $5,000 from MainStreet London, $2,600 from the London Community Foundation, $2,500 from the London Arts Council; $1,500 from the Jack and Barbara Hay Foundation; $2,500 from art banner host sites and a $10,000 anonymous donation.

Gifts In Kind
Gifts in kind and donated services and goods play an increasing role in operations although they are not reflected in the budget. The partial listing below attempts to recognize and indicate the level of this valued community support. (Note: Significant labour of 95+ ongoing Gallery Volunteers' work is not included below.)
1. Red Rhino Design for Open Air Two: Gateways & Gardens Public Art Project valued at $30,000
2. Open Air III: Art & Architecture other gifts in kind valued at $32,000
3. Corporate sponsorship gifts in kind, Esam Group, for antiques road show style Appraisal Day fundraising event April in Cherryhill Village Mall
valued at $4,500
4. Donated services, disposable assets for fundraising events and sales:
- volunteers for antiques road show style fundraising event April in Cherryhill Village Mall valued at $4,290
- appraisers for April 2, 2005 antiques road show valued at $4,500
- appraisers for Maysale art/collectables/treasures sales valued at $2,000
- art and collectables donated for fundraising events $20,000+
Subtotal: $97,290
The Gallery has maintained the active involvement and dedicated commitment of more than 95 volunteers: 70% are students, about 10 are Gallery Greeters, 20 are Gallery Attendants, 15 are office and research assistants and the rest are public relations and special events assistants and committee members.

The Collection
Six Canadian Cultural Property review Board applications were made for artworks valued at $94,500. 85 artworks were proposed for acquisition in 2005 and 35 were accepted into the Collection which is now valued at $10,387,224. Total value of donations to the Collection was $446,000. 789 artworks were displayed across the campus, (878 of them moved or changed in 2005), with 243 in the similarly secure, monitored Artshare program with 50 different areas at Western. The Collection now totals 3014 original artworks by 579 artists.

The Gallery's Collection is a rich resource for the promotion of local, regional and national artists. Exhibitions feature works from the Collection. Future Collection-based initiatives including exhibitions will be enhanced by the Gallery's new d-base currently being populated. The system is now compatible with 90% of Canadian art institutions thus facilitating the efficient sharing of information. It provides superior and faster retrieval of records, additional condition reporting functions, and a new capacity for digital images. Current plans include a link to our new autonomous website (www.mcintoshgallery.ca) which will accommodate public access to collection records. Our dedicated server will also lodge special projects such as the Open Air public art festivals (www.openair.ca).

The McIntosh Gallery continued to operate Artshare, a program in which university employees actively participate in a selection of art from the Collection for display on campus under safe and secure conditions for a small fee, usually about 17% of the actual cost. This engendered ownership, pride and awareness of the Collection as a shared resource, especially when works were removed for exhibition loans and were experienced in another context in Gallery exhibitions. Registrar David Falls used these opportunities to educate Artshare clients about local and Canadian artists.

The Gallery's Acquisition Policy was rewritten in 1994 to refine its priorities toward a collecting practice which reflects more accurately the visual heritage of our community and thereby support the curatorial intentions: 1) the art of London and immediate environs; 2) artists of national significance; 3) artists of international significance only when their influence can be documented on the artists of Southwestern Ontario. All proposed acquisitions are researched and presented to the McIntosh Gallery Acquisitions Committee for consideration against the criteria of the policy outlined above. Purchases are possible only through grants, (Walter & Duncan Gordon Foundation), and the accumulated interest from the Gillian Saward Endowment that is restricted to the purchase of artwork by emerging artists. Art donations are cultivated by the Curator from numerous donors across Canada. The Collection is managed by the Registrar who maintains electronic, photographic and paper documentation records. Condition reports are completed regularly and used for prioritization of conservation work as funds allow.

Policies regarding copyright and reproduction rights have been rewritten in conjunction with the University's lawyer based on ongoing practice of the Gallery and they have subsequently become the basis for institution-wide policy. Currently, the Gallery is engaged in an ongoing project to have all applicable artists, whose work is represented in the Collection, complete copyright forms. Begun in 2003 with an estimated 400 artists involved, some of whom have yet to be located, it is anticipated that this work will continue through 2005/2006. As a result, Gallery staff are acknowledged as regional leaders and mentors in visual intellectual property issues and copyright.

Programming/Exhibitions
Nine in-house exhibitions, two travelling exhibitions with document, 15 gallery group tours, 10 special events and talks, six class presentations and one workshop garnered a total attendance over 12,500.

The curatorial decision-making process continued to be responsive to a collegial consensus of the partners involved and formed within the context of the standards and expertise of the staff and the expectations of the community and the stakeholders. Exhibitions and programming are responsive to the diversity evident within our audiences through collaboration with a variety of partners including academic disciplines such as Visual Arts, Women's Studies, First Nations Studies, Education, Business Administration, Public History, and Arts Administration. This year, several artists were invited to speak to university classes in the context of their exhibitions. This cooperation also extends to certain conferences where themes provide an opportunity to showcase Canadian artists to local audiences as well as visitors from around the world.

Every two or three years a visitor survey is conducted to glean feedback on programs and exhibitions in addition to our Gallery comment book and anecdotal information. From November 2005 to April 2006 surveys were administered in person by work bursary students and interns face-to-face with visitors.

Concurrent solo artist exhibitions are partnered in an issue-oriented relationship to present viewers with differing viewpoints on specific questions.

Exhibitions by local and regional artists are viewed as primary opportunities to support and promote our artistic community with presentations that offer new and unusual work. A presentation of Ed Zelenak's latest sculptural work combining natural and manufactured elements breaks a significant exhibiting hiatus by this senior artist. Agneta Dolman: Our Home and Native Land documents the artist's observations of today's immigrant experience contrasted with her own 30 years before and raising the question of what it is to be Canadian.

Occasionally, campus conferences provide an opportunity to showcase Canadian artists to local audiences as well as visitors from around the world. Paradigms of Citizenship parallels the theme of the international Congress of the Arts and Humanities held at Western in May, 2005 with some 7,000 delegates. Rafael Goldchain and Protecting/Projecting Identity was concurrent with the Veritas Forum when academics gathered to discuss issues around religious belief systems and their potential conflicts with research disciplines. Consistent with past practice, the Gallery will host scheduled conference sessions which includes where possible discussions on the exhibition content with the artists.

The McIntosh Gallery is also committed to the encouragement of emerging professional artists through occasional group exhibitions which are curated around specific themes. This provides the community with the opportunity to see a new generation of artists in their formative years including the Fanshawe College Fine Art Program Graduation Exhibition and The University of Western Ontario Department of Visual Arts MFA Exhibitions, longstanding traditions which have evolved over three decades. Exhibitions by the Masters degree students both in the current year and next year focus on cultural stereotypes of persons of colour and specifically requested the Gallery space in which to present the work. In addition, Future Creatives coincided with the City of London's 150th anniversary to feature six local emerging artists whose work has an affinity in style or subject with more established London artists selected from the Collection for concurrent display.

Promotion of local artists occurs beyond London through organization of or participation in touring exhibitions. Agneta Dolman: Our Home and Native Land and Johnnene Maddison: Over Here - Women, Work and WW II, Joseph Hubbard and Ed Zelenak evolved through collaborations with gallery professionals in other communities to produce more extensive catalogues through pooled resources. The Curator is the principal coordinator on behalf of the participating galleries for the Dolman and Maddison catalogues including ongoing consultation with the artist, research on and negotiation with potential essayists, liaison with the designer and printer and final editing. The increase in OAC funding was invested in the Maddison catalogue which has been among the Gallery's most popular, best-selling catalogues. It has also served to secure additional venues for the exhibition in Almonte and Mississauga, and The Canadian War Museum.

Exhibitions and programming are responsive to the diversity evident within our audiences through collaboration with a variety of partners and formed within the expectations of the community and the stakeholders. The exhibitions of Rafael Goldchain, Agneta Dolman and Joseph Hubbard encouraged dialogue between culturally diverse individuals in the community through their respective content, programming and the accompanying published materials.

All programs utilize unique University expertise and resources wherever possible to add specialized interdisciplinary and historical context. Additional programming included free public walking tours by the artists and/or curator and cross-disciplinary discussion circles led by specialists drawn from the artist and university community. For example, a new program introduced last year, Talk Tuesdays, facilitated informal discussions on the issues explored in each exhibition through invited guests, artist walking tours, and curatorial talks. In 2005/2006 saw an increase in the number of Talk Tuesday programs to 10. 8 artist walking tours and liaison with elementary, secondary and university classes for workshops, in-gallery classes, and projects continued.

The Gallery's Permanent Collection of over 3,100 works is another rich resource for the promotion of local, regional and national artists. Work continued on linking the new Collection d-base to our new autonomous website (see www.mcintoshgallery.ca) which will accommodate public access to collection records. Our dedicated server will also lodge special projects such as the Open Air public art festivals, (see www.openair.ca), Art & Architecture will take place on Dundas Street in the summer of 2006.

The McIntosh Gallery continued to operate Artshare, a program in which university employees actively participate in a selection of art from the Collection for display on campus under safe and secure conditions. This engenders ownership, pride and awareness of the Collection as a shared resource, especially when works are removed for exhibition loans and are experienced in another context in Gallery exhibitions. Registrar David Falls uses these opportunities to educate Artshare clients about local and Canadian artists.
Currently, over 1000 artworks are on public display through this program with over 66% rotated annually or returned to protective storage.

Academic disciplines such as Visual Arts, Women's Studies, First Nations Studies, Education, Public History, and Arts Administration are frequent partners in program planning and delivery. Plans for next year's invitees have not yet been finalized. Women's Studies 256 visits the Gallery every year for a class with a female artist, this year. The Curator does an annual workshop on using public gallery resources to enhance classroom study for the Faculty of Education which includes the "Tour from Hell" in which pre-service teachers are invited to become disciplinary challenges to observe how a gallery educator maintains focus on the learning outcomes. Director Arlene Kennedy served on the advisory committee for the creation of a new program in Arts Administration, introduced by the University this year. The Gallery also collaborated with the University Library System and Department of Alumni Affairs to develop a workshop on the appreciation, collection and research of art.

Gallery staff are particularly committed to art education through class tours. Appropriate class levels and courses are identified and targeted for specific exhibitions. Workshops, in-class talks, and student projects with the Permanent Collection are enthusiastically supported. This year, the Curator was invited to a Museology class to speak on curatorial practice in Canada. Members of a Canadian Art History class researched and made presentations on works from the Gallery's Collection. A Visual Arts professor routinely challenges her Historiography class to study one of four different Collection works and argue its origin and date based on stylistic observance. In addition, the Curator supervised 5 student interns, three from the Department of Visual Arts and two from the Faculty of Information and Media Studies, on specified research projects including the guest curation of the Paradigms of Citizenship. Another student has completed a public service announcement video about learning disabled students and their experience in a society unwilling to accommodate them.

The McIntosh Gallery is a founding member of "Beyond the Blackboard", a collective of cultural, historical and environmental organizations in and around London which seeks to raise awareness among teachers about organized educational programming available for their classes. By pooling resources, the group has produced and distributed information packages annually to all schools and Home School Associations within the school board district. Programs
offered are designed to mesh with and enhance Ontario curriculum for elementary and secondary students.

The University community does not conform to the national statistic that 25% of Canadians are functionally illiterate. Yet experience has shown that although our primary audience is literate, many individuals are visually illiterate. Enhancement of the visitor's understanding about visual art is considered integral to the McIntosh Gallery's education responsibilities. Recognizing that individuals learn through differing methods, a variety of learning vehicles are provided ranging from direct contact through walking tours with artists and curators to written critical analysis in catalogues, Gallery Notes, and extended labels. Following the Harvard Art Museum model, large publications usually include several essays by authors who approach the art experience from their varied disciplines. For Agneta Dolman: Our Home and Native Land, a curatorial introduction by McIntosh Curator Catherine Elliot Shaw accompanied invited essay writers: Peter Desbarats, London-based author and playwright, who described a visit to the artist's studio and his reaction to the work; London artist Gerald Vaandering who discussed the experience of immigrants to Canada; and Helen Fielding, Assistant Professor of Philosophy and Women's Studies at Western, who examined the work within a feminist framework. Additional background information in magazines, newspapers, reviews, books and through the web are assembled and made available in a reading area close to the gallery space. Students, staff and faculty occasionally write about their reactions to exhibited work drawing upon their emotional and/or life experience or professional training. When permission is granted, these essays are posted or printed to engender more responses from visitors and provide another way of seeing. These, together with each of the artist's statements, make for a rich interplay of ideas and information for the reader.

Gallery staff provided professional and institutional guidance to the local artistic community through advice, grant support, grant adjudication, policy generation, recommendations, references, studio visits, opportunities to network with potential buyers, contacts, purchases, access to information and research materials, contract jobs, introductory letters to other galleries and equipment loans. The Curator was been invited twice to present workshops on "The Business of Being an Artist" at the St. Thomas-Elgin Public Arts Centre and for Nokee Kwe, a First Nations assistance agency.

As a public art gallery situated at one of Canada's top ten universities, the McIntosh Gallery espouses freedom of expression, visual literacy, critical
consciousness, and meaningful dialogue. The McIntosh Gallery fully endorses the payment of artist fees as well as the costs for shipping, travel expenses, invitations and mailings, insurance, receptions and entertainment. Policies regarding copyright and reproduction rights have been rewritten in conjunction with the University's lawyer based on ongoing practice of the Gallery and they have subsequently become the basis for institution-wide policy. Currently, the Gallery is engaged in an ongoing project to have all applicable artists, whose work is represented in the Collection, complete copyright forms. Begun in 2003 with an estimated 600 artists involved, some of whom have yet to be located, it is
anticipated that this work will continue through 2005/2006. As a result, Gallery
staff are acknowledged as regional leaders and mentors in visual intellectual property issues and copyright.

Physical and technical support for exhibitions, programs and the Collection reside in the professional gallery staff assisted by a dedicated team of over 90 volunteers. Key personnel are: Arlene Kennedy, Director, Hons. BA (Visual Arts), MA (Art Education), responsible for the overall Gallery operations, programs and the University Art Collection; Catherine Elliot Shaw, Curator, Hons. BA (Art History and Criticism), MA (Public History), organizes, manages and interprets exhibitions and educational programs, coordinates publicity and media relations, researches and makes recommendations regarding the University Art Collection; David Falls, Registrar/Installations Officer, BA(Visual Arts), Certificate in Museum Studies (Canadian Museums Association), responsible for management and care of the University Art Collection, installation and dismantling of exhibitions, shipping/receiving of art, maintenance, security and documentation of artworks.

Both the Director and the Curator continued their numerous volunteer roles for various community groups. The Director was a member of the City of London's 150th Celebration Committee, the London Public Art Policy Committee, an adjudicator for the City of London Arts and Heritage Grants and Landmarks London Committee of the City of London Planning Department and is an active member of the Canadian Art Museum Directors Organization and the Canadian University Art Galleries Association.

The Curator is an ongoing member of the Support Group of Western's Professional and Managerial Association which assists university co-workers on work-related problems. She also conducted 2 illustrated slide lectures for area interest groups, and annual jurying for the Clark McDougall Scholarships through the St. Thomas-Elgin Public Art Centre and also that Centre's inaugural National Student Art Competition. She continued to mentor colleagues in nearby regional galleries on matters relating to exhibitions, gallery-artist relations, advocacy, fundraising, publishing, and applications to the Canadian Cultural Property Export Review Board.

Resources are allocated according to the Gallery's mandate, priorities and plans as established in our short- and long-term planning documents. In addition to the basic University subsidy, other corporate resources are made available to the McIntosh Gallery including assistance with national and international exhibitions and art loans through customs brokers, special documents, advice in purchasing and services, legal assistance, exposure through the University website, publications (Western News and Alumni Gazette), faculty and fundraising campaign literature and newsletters, media production and advertising, gifts in kind and monetary donations for fundraising and special events. Volunteers with specialized expertise assist with specific initiatives such as the Open Air public art project, site preparation for site-specific outdoor commissioned artworks, interior renovations to accommodate art installations, provision of electronic access to intranet and internet resources including staff expertise and assistance as needed. Students trained as volunteer Gallery Greeters engage visitors in conversation about the exhibitions and in public relations, security, and program delivery.

A third "Open Air" London public art festival is planned for the Summer of 2006 with a theme of Art and Architecture to coincide with the City of London's "Creative Cities" initiative, encompassing the ideas of Richard Florida and those of Jane Jacobs: attracting and retaining creative people and businesses. The theme Florida's famous 'indexes' include, among others, are two important components for the Creative City: a university and a rich arts and culture scene.
Our city centre is an opportunity to focus on the streetscape as a reflection of what London has accomplished in hindsight, what insights we have gained from our past and what foresight might afford us for a creative future. Creative individuals and groups will be invited to submit proposals for their choice of Dundas Street building façade banners that may incorporate images of either the history of a building and its previous uses, the current occupant or imaginative future uses and appearance.
The Curator was coordinating editor for the catalogue for the exhibition Agneta Dolman: Our Home and Native Land that is currently touring throughout southwestern Ontario to the Woodstock Art Gallery, St. Thomas-Elgin Public Arts Centre, Thames Art Gallery, Gallery Lambton, arriving at the McIntosh Gallery in 2006. This project involved brainstorming appropriate essayists with the artist and participating galleries, contracting with the essayists, editing all text, liaising with the designer and printer

McINTOSH GALLERY EXHIBITION SCHEDULE 2005 - 2006
May 19 - July 3 PARADIGMS OF CITIZENSHIP
George Baxter (deceased); Ron Benner (London ON); Bob Bozak (London ON);
Thomas Sidney Cooper (deceased); Greg Curnoe (deceased); Michael Durham
(London ON); Jamelie Hassan (London ON); Robert Hillingford (deceased);
Stephen Livick (London ON); Gillian Saward (deceased)
Curators: Mary Clare Lamon and Catherine Elliot Shaw
Originated at McIntosh Gallery. Curatorial essay published as Gallery Notes

Organized in conjunction with the 2005 Congress of the Arts and Humanities, this exhibition coincides with some of the Congress themes including individual and social responsibility, inclusion and equity, activism, and the global contexts in which they operate. These issues will be examined through the works of Canadian artists of local and national significance curated from the Gallery's collection.

July 7 - Aug 21 FUTURE CREATIVES
Margot Ariss; Ron Benner; Tom Benner; Ron Culbert; Duncan de Kergommeaux; Doug Dolman; Paterson Ewen; Murray Favro; Roly Fenwick; Valda-Christine Glennie; Jean Hay; Gino Lorcini; Doug Mitchell; Michael Mullan; John O'Henly; Jill Price; Leslie Putnam; Wendy Saby; Ruth Strebe; Bernice Vincent; Jeff Willmore; Ed Zelenak; William Zierhofer
Coinciding with London's 150th birthday, this exhibition looks forward (rather than back) at this city's creative community. The work of six artists-Doug Dolman, Valda-Christine Glennie, Michael Mullan, Jill Price, Leslie Putnam and Ruth Strebe-will be juxtaposed to provide a context for their artistic investigations with works by other local artists curated from the McIntosh Gallery Collection.
Free Public Walking Tour by the Curator
Curatorial essay published as Gallery Notes. Originated at McIntosh Gallery

Aug 25 - Sept 10 THE UNIVERSITY OF WESTERN ONTARIO DEPARTMENT OF VISUAL ARTS MFA EXHIBITIONS, Brendan Fernandez (London ON)
Curator: Catherine Elliot Shaw Curatorial essay published as Gallery Notes. Originated at McIntosh Gallery

One component of the MFA program is the public exhibition of the graduate student's body of work, an opportunity to see the culmination of their studies prior to graduation. Brendan Fernandez' work focuses on cultural stereotyping.
Primary audience is Western's faculty, staff and students and the broader community who are interested in the University's Visual Arts Masters Program.

Sept 15 - Oct 30 ED ZELENAK: RECENT WORK
Curator: Catherine Elliot Shaw Free Public Walking Tour by the artist
Illustrated Catalogue with essays by writer Gregory Humeniuk and critic/visual arts
professor Lorenzo Buj. Touring Exhibition organized collaboratively by the McIntosh Gallery, Thames Art Gallery and Gallery Lambton

This exhibition incorporated earlier icons of vessels and boat-like shapes with the artist's latest work, table sculptures with cast metal insets, and associated wall-mounted drawings to explore the ambiguity of space and familiar form.

Nov 3 - Dec 11 RAFAEL GOLDCHAIN: FAMILIAL GROUND
Curator: Catherine Elliot Shaw. Free Public Walking Tour by the artist
Originated at the Koffler Gallery (Toronto). Curatorial essay published in Gallery Notes
In a series of 21 digitally-altered self-portraits impersonating his ancestors, this exhibition reconstructs the artist's Latin American-Jewish heritage and explores its inherent memories, presumptions and fabrications. Also included are aural and video installations of archival family footage and other source materials.

SOUNDING IDENTITY: NEW MUSIC IN NEW PLACES
Jack Behrens (Toronto, On); David Partridge (Toronto, ON)
Free Public Walking Tour by the composer, Jack Behrens
Curatorial essay published as Gallery Notes. Originated at McIntosh Gallery.
Performance participation by visitors was encouraged in this collaborative music making project by the Director of Academic Studies at The Glenn Gould School of The Royal Conservatory of Music. Jack Behrens added one, two or three layers of live music to two especially composed and pre-recorded three minute segments for which the sound sources were two "naillies", (sculptures), by David Partridge which are in the collection of the McIntosh Gallery. The three instrumental parts from which visitors choose were composed for any a) string, b) wind and c) keyboard instrument and notated in a manner which can be grasped by both "musicians" and "non musicians". A keyboard was provided by the gallery-wind and string performers asked to provide their own instruments. The theme of identity in response to the concurrent exhibitions encouraged participants to interact musically with these sculptures.

Jack Behrens' 'Identity Sounding: New Music in New Place' encouraged visitors to participate in a collaborative music making project. Behrens created two new compositions using sculptures by Toronto artist David Partridge. Two pre-recorded three minute segments were notated in a manner which can be grasped by both musicians and non-musicians who were invited to play either the instruments provided or to bring their own. Behrens presented a noon-hour talk about his musical compositions on Tuesday, November 22 at 12:30 p.m. in the gallery. On November 8 a free public percussion performance by three students was presented at the University Community Centre.

The exhibition officially opened with a special performance by the Timbre Wolves, a percussion group composed of students in grade 8 who played original compositions on garbage pails. This exhibition was made possible with a grant from the Canadian Music Centre special 'New Music in New Places' program and the technical expertise and collaboration with Michael Godwin of Western's Don Wright Faculty of Music.

January 5 - February 19, 2006 AGNETA DOLMAN: OUR HOME AND NATIVE LAND
Agneta Dolman (London ON) Curator: Catherine Elliot Shaw. Free Public Walking Tour by the artist. Illustrated catalogue with essays by journalist Peter Desbarats, Curator Catherine Elliot Shaw, Women's Studies Professor Helen Fielding and artist Gerald Vaandering
Touring Exhibition organized collaboratively by the McIntosh Gallery, Woodstock Art Gallery, St. Thomas-Elgin Public Arts Centre, Thames Art Gallery and Gallery Lambton.

Three series of paintings and a multimedia installation explored what it is to be Canadian through the eyes of a former immigrant who has observed with interest the more recent experience of other émigrés. The works raised questions about globalization and the integration of communities into a global model, national and individual identity, stereotyping and hyphenated citizenship and gender inequity.
March 2 - April 9 LINDA DUVALL: ENOUGH WHITE LIES TO ICE A WEDDING CAKE
Curator: Catherine Elliot Shaw. Free Public Walking Tour, Illustrated catalogue Touring Exhibition organized in collaboration with the Robert McLaughlin Gallery (Oshawa) and the Mendel Art Gallery (Saskatoon).

What is real? What is invention? Can you tell the difference? Given the opportunity, would you re-invent yourself? Toronto installation/video artist Linda Duvall considers how easily we can and do fabricate the truth. In a series of interviews, she asks volunteers (you may recognize some of them!) to relate stories and answer questions. The viewer is left to analyse where the truth actually lies!

April 13 - 30 FANSHAWE COLLEGE DEPARTMENT OF FINE ART GRADUATION EXHIBITION
Curator: Catherine Elliot Shaw. Free Public Walking Tour by class representatives
Illustrated catalogue. Originated at McIntosh Gallery

This exhibition, coinciding with the end of the academic year, offered the broader community an opportunity to see the results of three years of comprehensive studio study.

McIntosh Gallery
Strategic Planning Commitee - February through September 2007

Joyce Garnett jgarnett@uwo.ca Chair
Jean Aitkins, Administrative Secretary
Office of the University Librarian
R. 201B, D.B. Weldon Library
The University of Western Ontario
519 661-2111 x 84769
520 Fax 519 661-2005

David R Merritt dmerritt@uwo.ca
Associate Professor
Visual Arts Department
John Labatt Centre
The University of Western Ontario
R. 233
519 661-2111 x 86193

Catherine L Ross ross@uwo.ca
Faculty of Information & Media Studies
519 661-2111 x 88486

Stephen Watt watt@uwo.ca
Professor, Applied Mathematics and computer Science
Middlesex College R. 375
519 661-4244 x 84244

Dr. Jerry P. White <white@uwo.ca>
Sociology and V.P. Academic Office
Social Science Centre R 3215
519 661-2111 x 85230

Judith Rodger wrodger@uwo.ca
323 St. George St.
London, Ontario
N6A 3A9
519 438-9785

John Nicholson jnicholson@malhotranicholson.com
Principal
Maholtra Nicholson Architects, Inc.
256 Pall Mall St, Suite 201
N6A 5P6
519 673-1190
520 Fax 519 673-1490

Ian Tripp ibfjt@rogers.com Acting Chair, McIntosh Gallery Committee, Board of Governors

Edward H Garrard egarrard@uwo.ca V.P. (External)
Ted Garrard, V.P. (External)
The University of Western Ontario
Rm 108a, Stevenson-Lawson Building
London, ON N6A 5B8
Phone: (519) 661 3858 FAX: (519) 661 3139
Admin. Assistant: Maura Crilly
Phone: (519) 661 3108 -- E-mail: mcrilly@uwo.ca

Judith Rodgers, jrogde5@uwo.ca Acting Director, McIntosh Gallery
519 661-3181
519 Fax 519 661-3059

McIntosh Gallery exhibitions and programs flow from its mission to affirm the artistic and educational qualities of visual culture by providing public access to visual art through innovative, scholarly and culturally inclusive programs. The McIntosh Gallery features primarily the work of contemporary artists for the multiple stakeholders in our community who see the art of their own time as having particular relevance to their understanding of the human condition. Concurrent solo artist exhibitions are partnered in an issue-oriented relationship to present viewers with differing viewpoints on specific questions. They are linked by a curatorial essay and other education vehicles, a format that has proven effective for 10 years. Exhibitions by local and regional artists predominate but are augmented by national, international and touring presentations when the opportunity arises. Where possible, local artists are partnered with non-local artists who provide a contextualized view for the local artistic community.
As a public art gallery situated at one of Canada's top ten universities, the McIntosh Gallery espouses freedom of expression, visual literacy, critical consciousness, and meaningful dialogue. The curatorial decision-making process is responsive to a collegial consensus of the partners involved and formed within the context of the standards and expertise of the staff and the expectations of the community and the stakeholders. Exhibitions and programming are responsive to the diversity evident within our audiences through collaboration with a variety of partners including academic disciplines such as Visual Arts, Women's Studies, First Nations Studies, Education, Business Administration, Public History, and Arts Administration. This year, several artists were invited to speak to university classes in the context of their exhibitions.
The McIntosh Gallery Collection enhances exhibitions and programming through curated exhibitions on specific themes and by providing historical context for the work of contemporary practicing artists. In addition, it is used for direct experience education for art students and interested members of the public. Special exhibitions of 6-7 weeks in duration are presented twice annually and showcase the Collection's depth of representation of local, national and international cultural heritage. Selections of works for exhibitions are based on the curatorial thesis and the artwork's condition and availability.

Loans may be made for the purposes of exhibition, education, study, research and/or any other appropriate purpose at the discretion of the McIntosh Gallery staff. In lending artworks, the McIntosh Gallery's first concern is to maintain its responsibility for the safekeeping of the Collection. Loan requests are considered and reviewed against the standards of current professional museological criteria including: the condition and age of the artworks requested; the environmental, lighting and security conditions of the intended location and required transportation; the length of time for which the loan is requested; the previous exhibition history of the artwork; duplication of requests; the value (market/historic/intrinsic) of the artwork; the reasonable expectation of the borrower's ability to fulfill obligations.

The Mission of the McIntosh Gallery is to affirm the artistic and educational qualities of visual culture through collecting and preserving art and by presenting innovative, scholarly and culturally inclusive programs in a stimulating and informative way to the varied audiences of The University of Western Ontario and the wider community.

The McIntosh Gallery collects contemporary and historical Canadian artwork chiefly of the Southwestern Ontario region and of Canadian artists of national significance. The Gallery also collects artworks by Canadian and international artists which provide a context for the regional focus through documented influence on the art of the region.

The McIntosh Gallery holds a number of sub-collections which represent important stages in its historical evolution. These include: the original McIntosh Collection bequest; a substantial group of works by 19th and early 20th century British and Canadian artists; and the Alumni Collection. The Gallery also has custodial responsibility for the University's Collection of portraits of record. The Collection presently contains some artworks by artists who fall outside this focus. The McIntosh Gallery may continue to broaden these holdings for in-depth representation of these artists throughout their careers.

As a University Gallery acting in the public trust, the McIntosh Gallery seeks to serve the interests of its constituencies. These include University students, alumni, faculty and staff and the larger community, audiences which are becoming increasingly diversified in nature. The majority of the student body is at present from the Southwestern Ontario region. For all audiences, the Gallery attempts to demystify contemporary art through dialogue, awareness and accessibility.

A more specialized community of artists, art and museum professionals, critics, writers, dealers, collectors, teachers and scholars play a dual role as stakeholders, being both audiences and contributors to the Gallery's collecting and programming activities.

It is the primary responsibility of the McIntosh Gallery to conserve its collections as a record of our cultural heritage in visual art and to carry this out according to accepted professional museological standards for art conservation and documentation. It is also the responsibility of the Gallery to promote the use of its Collection by making it accessible to its audiences through exhibitions of the Permanent Collection, special exhibitions, traveling exhibitions, supporting educational materials and loans. It is the responsibility of the Gallery to make the collection and documentation of same available for scholarly study and research.

The McIntosh Gallery makes every attempt to provide reasonable public access to the Permanent Collection. However, the Gallery must maintain its responsibility for the safekeeping of the Collection and seek an acceptable balance between serving the community and the potential risk of damage or loss. The degree of accessibility will also of necessity be determined by the limitations of financial and staff resources.

Any use of the Collection inevitably involves a certain amount of wear and tear on the artworks, but if any specific use is judged to constitute a threat to the material fabric of an artwork, then the responsibility of conservation will take precedence.

The Gallery shall not permit any use of the Collection which is detrimental to the integrity of the artworks or to the reputation of the McIntosh Gallery or The University of Western Ontario. (See also Loans Policy and Conservation Policy)

i) to continue to build a representative collection of the art of Southwestern Ontario, Canadian artists of national significance and Canadian and international artists deemed to have had an influence on the art of the region;

The Collection presently contains some artworks by artists who fall outside this focus. The McIntosh Gallery may continue to broaden these holdings for in-depth representation of these artists throughout their careers.

a) When acquiring artworks for the Collection, the McIntosh Gallery will be guided by the Statement of Intent.

b) Careful consideration will be given to the long-term implications of acquiring any artwork. Artworks will only be acquired with a view to permanency in the Collection and not with the intent of trading or selling. (See Donations Policy for possible exceptions.)

c) The Gallery will not acquire artworks indiscriminately, and it reserves the right to determine by due internal process at what point its holdings of artworks by any artist or in any area have become fully representative of its collecting intent.

d) Prior to any acquisition, the Gallery will make every reasonable effort to ascertain that:
i) the provenance and ownership of the artwork is above suspicion and that the Gallery can therefore rightfully assume legal and valid title;

ii) the artwork is acquired free and clear of restricting conditions; (See
also Donations Policy.)

iii) the acquisition is in accordance with the laws of Ontario, other provinces, Canada and with international agreements regarding heritage and
cultural property;

iv) the artwork has not been collected under circumstances considered to
be unethical, illegal or otherwise incompatible with professional standards;

v) the artwork is well documented, or that adequate documentation can
reasonably be researched by the Gallery;

vi) the condition of the artwork is deemed satisfactory at the time of
acquisition. (See also Conservation Policy.)

In keeping with the professional codes of conduct and to determine first right of refusal, all museum staff members must disclose to the Acquisitions Committee any purchasing or prospective purchasing and collecting of objects where any privileged or special information has been obtained as a result

of their work with the Gallery. Should the Gallery claim first right, the initial purchaser must provide receipts. Commercial activity by employees/committee members in artworks related to the Collection is not permitted.

McIntosh Gallery employees/committee members shall not acquire any artworks deaccessioned and disposed of, by whatever manner, from the Collection.

Clearance is not required for objects received by employees/committee members as bequests or through marriage.

A personnel signature on the Code of Ethics for Personal Collecting document indicates acceptance of these conditions. The application of this policy begins upon employment/appointment and ends upon termination.

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Deaccessioning is a recognized part of collections management. The purpose of deaccessioning is to facilitate the long-term improvement of the Collection by removing artworks which have become no longer integral to the Collection for various reasons.

The McIntosh Gallery collects contemporary and historical Canadian artwork of the Southwestern Ontario region and of Canadian artists of national significance. The Gallery also collects artworks by Canadian and international artists that provide context for the regional focus through documented influence on the art of the region.

The McIntosh Gallery holds a number of sub-collections which document important stages in its historical evolution. These include: the original McIntosh bequest Collection; a substantial group of works by 19th and early 20th century British and Canadian artists; and the Alumni Collection. The Gallery also has custodial responsibility for the University's Collection of portraits of record. The fact that an artwork may fall outside the present collecting intent of the Gallery will not in itself constitute sufficient grounds for deaccession.

The McIntosh Gallery will ensure that all deaccessions and disposals are carried out according to the principles, procedures and code of ethics for same established by the museum and gallery profession in Canada.

a) all deaccessions and disposals are conducted and are seen to be conducted in a manner open and above-board, guided by the concerns of responsible collections management and the Code of Ethics for Personal Collecting;

b) the rationale behind every deaccession or disposal will be made available by the Gallery to any interested constituent upon request;

c) wherever possible, all appropriate external expertise will be consulted and considered.

a) An artwork or group of artworks may be considered for deaccession and disposal upon the recommendation of the Curator and/or other members of the Gallery staff. After due process, it/they may be removed from the Collection.
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The fact that an artwork may fall outside the present collecting intent of the Gallery will not in itself constitute sufficient grounds for deaccession, as there may be other valid reasons for the Gallery to retain ownership. (See sub-collections, p. 1, item b).

The Gallery's Collection is a record of a visual heritage. Therefore, special care shall be exercised to overcome personal bias and the biases of our time when considering artworks for deaccession.

b) In order to be considered for deaccession, the following guidelines will be used:

i) the artwork would be better placed within another institution in which it would be given a fuller and better context (See also Loans)

ii) the artwork has become irrelevant within the Collection because the collecting intent of the Gallery has changed;

vi) the artwork has deteriorated to the point where it cannot be exhibited or otherwise used due to its physical condition and restoration would be impractical and/or render it false.

ii) make every reasonable effort to advise the donor or a
member of the immediate family as a gesture of
courtesy, even if the gift is free of restrictions.

b) Except in the case of accidental loss (mysterious disappearance, theft), the disposition of deaccessioned objects will be by means of sale, trade or exchange, gift, or intentional destruction.

c) The manner of disposition shall be in the best interest of the Gallery, the public it serves, and the public trust placed in it. Therefore, once the decision has been reached to remove an object permanently from the Collection,
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i) every effort will be made to ensure that it remains in the public domain. First consideration will be given to an institution that can provide the highest degree of care for or give a fuller and better context for the object, which means that the institution must operate on a public non-profit basis and have purposes similar to those of the Gallery.
every effort will be made to advertise the availability of the eaccessioned material as widely as possible among sister institutions.

where an exchange takes place, the objects received in return shall have at least the same intrinsic worth or market value, unless the intent is to assist another institution to improve its collections.

ii) every effort will be made to ensure that an object significant to Ontario or Canada remains in the Province or in Canada.

iii) second consideration only will be given to disposal at public auction or to a dealer, whichever is deemed to be more appropriate.

d) Upon approval of any deaccession, the Gallery will make public through the appropriate media a list of items to be deaccessioned. For those items that may be of significance to a community, Ontario or Canada, this notice shall be at least three months in advance of the proposed date of deaccession. If any objections are received, the deaccession will be reconsidered by the approving authorities, who will be governed by the best interest of the public trust. The results of these deliberations will be communicated directly to all parties concerned and to the public in general. If the decision is reached to proceed with the deaccession, this may take place without further notice.

e) The fair market value of an object will be determined by an arm's length appraisal.

f) The proceeds from the sale of a deaccessioned object will only be used to strengthen and maintain the Collections and not for operational or administrative purposes.

g) All information regarding a deaccession will be fully documented and maintained in the Gallery's records on a permanent basis. This will also apply in instances where a deaccession is due to accidental loss (mysterious disappearance, theft) or intentional destruction.

h) Where a deaccession involves transfer of ownership, appropriate legal ocumentation will be used.

i) All deaccessions will adhere to the applicable provincial and Canadian laws and international agreements and treaties.

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j) When it can be shown that other bodies or governments have a legal right to and desire ownership of the artwork, the Gallery will deaccession artworks for the purpose of repatriation. The Gallery will proceed with repatriation only when it has assurance that the artworks will be preserved in accordance with the highest standards of the museum profession.

k) Upon request, the Gallery will make public a list of items deaccessioned.

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The McIntosh Gallery shall endeavour to provide reasonable public access to the Collection through the facilitation of temporary loans of artworks. In lending artworks, the McIntosh Gallery's first concern is to maintain its responsibility for the safekeeping of the collection and to seek an acceptable balance between serving the community and the potential risk of damage or loss. (While every attempt will be made to provide public access to the Collection, the degree of access will of necessity also be determined by financial and staff resources.)

Loans may be made for the purposes of exhibition, education, study, research and/or any other appropriate purpose at the discretion of the McIntosh Gallery staff. Artwork will not be loaned for purposes deemed to be unethical, illegal and otherwise incompatible with professional museological standards. Artwork will not be loaned for purposes deemed to be injurious to the reputations of the McIntosh Gallery or The University of Western Ontario.

Loan applications must be made in writing and must include the specific purpose, expected period of loan, all modes of transportation and/or handling and intended location. All applications will be reviewed against the standards of current professional museological criteria including:

i) the condition and age of the artwork(s) requested;
ii) the environmental, lighting and security conditions of
the intended location and required transportation;
iii) the length of time for which the loan is requested;
iv) the previous exhibition history of the artwork(s);
v) duplication of requests;
vi) the value (market/historic/intrinsic) of the artwork;
vii) the reasonable expectation of the borrower's ability
to fulfill obligations.

In the event that two loan applications are received for the same artwork for the same time period, priority will be given to the first written application. It is understood that all artworks on temporary loan within the

campus community may on occasion be withdrawn by the McIntosh Gallery staff for the purposes of conservation, photography, or exhibition in a public gallery. All loan requests will be answered promptly by the McIntosh Gallery.

Borrowers are expected to pay for transportation and other attendant costs associated with the loan, which may include: inspection of the intended location; any preparatory services (matting, reframing, disassembly, conservation) required by the borrower or the McIntosh Gallery; and wrapping/packing and handling. In accordance with the requirements of the University's Fine Art Insurance Policy, artwork may only be handled by McIntosh Gallery staff or individuals acknowledged by the McIntosh Gallery staff as being trained in professional art handling procedures.

The borrower is expected to maintain insurance obligations
through the agency of the McIntosh Gallery on any borrowed artwork at all times. Public galleries or other public institutions will provide proof of insurance at the values specified by the McIntosh Gallery.

Artwork loaned on campus will be maintained under the University's Fine Art Insurance Policy. The borrower will be required to sign an agreement signifying acceptance of responsibility for the Fine Art Policy deductible, currently $1,000 for each artwork and for any single occurrence.

Copyright for all McIntosh Gallery artwork remains with either the McIntosh Gallery and/or the artist. Unless agreed upon in writing by the McIntosh Gallery, it is assumed that the borrowed artwork may not be photographed or otherwise documented for any reason, including publicity purposes. Copyright laws will be respected in every instance.

This policy will be reviewed one year after approval/implementation, and at least every three years thereafter.

McIntosh Gallery

Acquisitions Committee .generates, reviews and evaluates
[makes recommendations to] policies for approval
.approves acquisitions
.recommends deaccessions

McIntosh Gallery Committee .approves policies and moves their
[makes motions to] approval by the Board of Governors

UWO Board of Governors .announces intentions to
[final decisions] deaccession and considers any
feedback

COLLECTIONS POLICY
McIntosh Gallery

COLLECTIONS POLICY
McIntosh Gallery
TABLE OF CONTENTS

e) COLLECTING INTENT AND RANGE.2
CRITERIA3
CODE OF ETHICS FOR PERSONAL COLLECTING3

MISSION
The Mission of the McIntosh Gallery is to affirm the artistic and educational qualities of visual culture through collecting and preserving art and by presenting innovative, scholarly and culturally inclusive programs in a stimulating and informative way to the varied audiences of The University of Western Ontario and the wider community.

The McIntosh Gallery welcomes donations and gifts as an important endorsement of its mission and a means of assistance in carrying out its work. The McIntosh Gallery is pleased to consider all proposed gifts and donations; however, their acceptance in some categories depends upon these gifts being in accordance with the McIntosh Gallery's established policies. Therefore, the McIntosh Gallery also reserves the right to decline gifts, either wholly or in part. Art donations which are intended as gifts to the Permanent Collection are subject to due process and consideration by the McIntosh Gallery Acquisitions Committee. (These conditions are explained in more detail in the appropriate sections below.)

A) direct monetary gift to the McIntosh Gallery;
B) the McIntosh Gallery Endowment through Foundation Western;
C) direct gift of artwork to the McIntosh Gallery Collection;
D) deferred gifting;
E) bequests;
F) University of Western Ontario Foundation;
G) CMA Crown Foundation.

Monetary gifts may be made at any time to the McIntosh Gallery. Donations in excess of the stated membership fee are eligible for a University tax receipt as allowed under law for the tax year in which the gift is received.

Gifts may be made at any time to the McIntosh Gallery Endowment through Foundation Western. Donations are eligible for a University charitable tax receipt as allowed under law for the tax year in which the gift is received.

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Donations to the McIntosh Gallery Endowment may be made in any of 2 of the following ways:

i) donations of disposable assets (including art objects which fall outside the McIntosh Gallery Collections Policy) to Foundation Western, proceeds to be directed to the McIntosh Gallery Endowment

iii) deferred giving and bequests of disposable assets and/or cash donations to the McIntosh Gallery. (see Deferred Giving of Art, p. 4, D)

The Collection presently contains some artworks by artists who fall outside this focus. The McIntosh Gallery may continue to broaden these holdings for in-depth presentation of these artists throughout their careers.

i) When acquiring artworks for the Collection, the McIntosh Gallery will be guided by the Statement of Intent.

ii) Careful consideration will be given to the long-term implications of acquiring any artwork. Artworks will only be acquired with a view to permanency in the Collection and
not with the intent of trading or selling.

iii) The Gallery will not acquire artworks indiscriminately, and it reserves the right to determine by due internal process at what point its holdings of artworks by any artist or in any area have become fully representative of its collecting intent.

iv) Prior to any acquisition, the Gallery will make every reasonable effort to ascertain that:
- the provenance and ownership of the artwork is above suspicion and that the Gallery can therefore rightfully assume legal and valid title;
- the artwork is acquired free and clear of restricting conditions;
- the acquisition is in accordance with the laws of Ontario, other provinces, Canada and with international agreements regarding heritage and cultural property;
the artwork has not been collected under circumstances considered to be unethical, legal or otherwise incompatible with professional standards;

.the artwork is well documented, or that adequate documentation can reasonably be researched by the Gallery;

.the condition of the artwork is deemed satisfactory at the time of acquisition. (See also Conservation Policy.)

Donations of artworks to the Collection are encouraged, however the McIntosh Gallery reserves the right to decline any or all gifts in accordance with established policies. All proposed gifts will be examined by McIntosh Gallery staff and evaluated against the Acquisition Policy criteria. If these criteria are satisfied, the proposed artwork will be subject to due process and consideration of the McIntosh Gallery Acquisitions Committee. Upon acceptance, the artwork will be evaluated by an arm's-length professional appraiser at the donor's expense. The donor, in consultation with McIntosh Gallery staff, may elect one of the following receipting processes:

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ii) application for Cultural Property status;

iii) recognition by the University of Western Ontario Foundation;

The McIntosh Gallery will endeavour to expedite the donation process wherever possible.

Each donation is considered in its own merit as it relates to the Collections Policy. A first acceptance of a donated artwork is not a commitment of the McIntosh Gallery to accept any subsequent or future donations of works by the same artist.

Gifts of residual interest to a charity are recognized by Revenue Canada (see Interpretion Bulletin IT-226R) wherein the actual property, such as an art collection, will not be received by the ultimate donee immediately. The fair market value of the artwork is determined, and the donor's life expectancy or length of time before the property (artwork) is physically received by the McIntosh Gallery, in order to determine the life interest in the property (artwork).

The following example is from "Donate Now, Deliver Later", by Arthur B.C. Drache, Q.C.

A potential donor owns a painting which a
museum wants to acquire. The current
owner is prepared to make the donation
with the proviso that the painting remain
in his or her possession for life. The
agreement might consider a range of issues,
including the museum's possible right to
display it from time to time while the donor
is still alive.

The tax question is: What is the value of
the gift? The first thing to determine is
the fair market value of the painting
now, while the donor presumably knows
the adjusted cost base (ACB) - the cost
for tax purposes. The next thing to
determine is the value of the interest
being conveyed and the ACB of the
transferred property.

mined by the discounted value of the
picture. The present value is found
by discounting the fair market value
of the picture by the donor's life
expectancy and a reasonable discount rate,
which these days would probably be in the
7% range. The older the donor, the higher
the value of the residual interest.

For example: the painting is now worth
$500,000 and the discounted value is
$225,000. The original cost of the
painting was $100,000. The ACB of the
residual interest equals the ratio of
the residual interest ($225,000) to
fair market value ($500,000) times the
ACB of the property ($100,000). This
works out to $45,000. Thus, the
capital gain on the transfer of the
residual interest would be $180,000
($225,000 minus $45,000. Thus the
museum could issue a receipt for
$225,000.

The donor could also make an election
under subsection 118.1(6) of the
Income Tax Act to set the disposition
value anywhere between $225,000 and
$45,000, which would reduce capital
gains but would also reduce the value
of the receipt. If the gift is made
in 1994, an election could be made to
use any part of the donor's unused
capital gains exemption based on the
capital gain calculated as of February
22, 1994 - Budget Day.

The gift takes place at the time the
transaction is entered and not when the
donor dies. At death, there are no
tax consequences to the donor or the
estate, and the only legal requirement
is that the painting be physically
transferred to the museum. The donor

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could decide to gift the work before
death. In that instance, a new
valuation of the life interest can be
done and presumably another donation
receipt can be given for the value of
the gift at that time.

The technique can be used for types of
property other than art. A gift of land
or a house might also be received
through the same approach. The technique
cannot, however, be used with a gift of
certified cultural property, as the
provisions for such property only apply
to an "object", and residual interest
is not an object.

Having made the gift of residual
interest, the donor cannot change
their mind or their will, but the
donor has an immediate deduction
for tax purposes while the artwork
remains in their home and/or office
so long as they live or elect to keep it.

E. BEQUESTS

Approval-in-principle may be determined by the McIntosh Gallery Acquisitions Committee for any acceptable proposals for bequests. Prior to the actual acceptance of the gifts, their continued viability will be determined by the McIntosh Gallery Acquisitions Committee which shall reserve the right to decline any or all gifts in accordance with established policies.

Donors may elect any of the following options at any time in the donation process:

In consultation with the donor, the McIntosh Gallery will establish wording for all public acknowledgements of gifts, including gifts in memoriam and tributes.

In the normal course of events the donor shall bear the cost of appraisals, shipping and insurance.

Wherever appropriate, donors are encouraged to accompany their art donation with funds that will ensure support for the ongoing wellbeing of the artwork. Such accompanying funds may be directed toward specific functions including conservation, insurance, storage, records, research, documentation or exhibition.

Mission
The Mission of the McIntosh Gallery is to affirm the artistic and educational qualities of visual culture through collecting and preserving art and by presenting innovative, scholarly and culturally inclusive programs in a stimulating and informative way to the varied audiences of The University of Western Ontario and the wider community.

Collecting Areas
The McIntosh Gallery collects contemporary and historical Canadian artwork chiefly of the Southwestern Ontario region and of Canadian artists of national significance. The Gallery also collects artworks by Canadian and international artists which provide a context for the regional focus through documented influence on the art of the region.

The McIntosh Gallery holds a number of sub-collections which represent important stages in its historical evolution. These include: the original McIntosh Collection bequest; a substantial group of works by 19th and early 20th century British and Canadian artists; over 300 photographic artworks; and the Alumni Collection. The Gallery also has custodial responsibility for the University's Collection of portraits of record. The Collection presently contains some artworks by artists who fall outside this focus. The McIntosh Gallery may continue to broaden these holdings for in-depth representation of these artists throughout their careers.

In addition, the McIntosh Gallery is a repository for original archival materials related to the Collection and to specific artists represented within it.

Uses of the Collection
It is the primary responsibility of the McIntosh Gallery to conserve its collections as a record of our cultural heritage in visual art and to carry this out according to accepted professional museological standards for art conservation and documentation. It is also the responsibility of the Gallery to promote the use of its Collection by making it accessible to its audiences through exhibitions of the Permanent Collection, special exhibitions, travelling exhibitions, supporting educational materials and loans. It is the responsibility of the Gallery to make the collection and documentation of same available for scholarly study and research.

Public Access
The McIntosh Gallery shall make every attempt to provide reasonable public access to the Permanent Collection. However, the Gallery must maintain its responsibility for the safekeeping of the Collection and seek an acceptable balance between serving the community and the potential risk of damage or loss. The degree of accessibility will also of necessity be determined by the limitations of financial and staff resources.

Loans
All applications will be reviewed against the standards of current professional museological criteria including the following conservation standards:

i) the condition and age of the artwork(s) requested;
ii) the environmental, lighting and security conditions of
the intended location and required transportation;
iii) the length of time for which the loan is requested;
iv) the previous exhibition history of the artwork(s);
v) duplication of requests;
vi) the reasonable expectation of the borrower's ability
to fulfill obligations.

In accordance with the terms and conditions of the William Abbott Endowment Fund established at The University of Western Ontario on behalf of the McIntosh Gallery, funds shall be used in service of the McIntosh Gallery Collection including preventative and restorative conservation and related archival records.

Portraits of Record
From time to time, the University commissions Portraits of Record of university officials, primarily the Board Chair, Chancellor and President. The McIntosh Gallery shall monitor and advise on matters pertaining to conservation of these portraits. The University bears the responsibility for the cost of preventative and restorative conservation for the Portraits of Record in the McIntosh Gallery Collection.

Registrar's Responsibilities
The Gallery shall not permit any use of the Collection which is detrimental to the integrity of the artworks or to the reputation of the McIntosh Gallery or The University of Western Ontario. (See also Loans Policy and Conservation Policy)

Every two years, the entire McIntosh Gallery Collection shall be inventoried visually and inspected by the Registrar for condition. The Registrar shall secure any external expertise required to establish conservation priorities for the Collection and the Archives. The Registrar shall maintain a formal liaison with The University of Western Ontario Archives for consultation on collection processing and storage of archival materials.

The Registrar shall maintain a list of conservation priorities to be reviewed annually at the annual all-staff planning and budget retreat. Within the long-term plan of conservation priorities, annual resource allocation shall include supplies and materials for preventative and restorative conservation as well as any contractual arrangements and ongoing disaster plan requirements.

The Registrar shall maintain records relative to the ongoing monitoring of the changing conservation needs of the McIntosh Gallery Collection including:
- condition reports
- hygrothermographic records
- physical environment
- records management
- database
- physical documentation
- movement and loan procedures
- public access policies.

Professional Development
The McIntosh Gallery will ensure that the Registrar and other full-time professional staff maintain current knowledge and recognized skills pertaining to conservation of artworks through journal subscriptions, reference publications, workshops, courses, and consultations.

The July, 2006 McIntosh Gallery Formal External Review considered and assessed the situation of the McIntosh Gallery over the last four years and to some degree advised on what should be taken into account in future planning.
This was a two day process that was a 'sounding' that now requires greater in-depth analysis of assumptions and research upon which to base future considerations.
The McIntosh Gallery Committee of the Board, in concert with the V.P. (External), Ted Garrard, will convene a Strategic Planning Committee composed of eight to ten stakeholder representatives, (two or three from the academic community including one from the Visual Arts Department; one or two members of the McIntosh Gallery Committee; a donor or a volunteer from the external community; a student representative from the Board of Governors; an external representative from the City or another educational institution), to steward the process and oversee the work of an external facilitator.
Reporting to the McIntosh Gallery Committee of the Board of Governors and to the V.P. (External), the Strategic Planning Committee shall consider the following as a framework for drafting their Terms of Reference:

I. Mission and Mandate
What are the future possibilities, the mission, mandate and the role of the McIntosh Gallery as a public art gallery situated at The University of Western Ontario?
What is the context for the McIntosh Gallery in terms of the University Strategic Plan?
What is the context for the McIntosh Gallery in terms of the External Strategic Plan?
How might these inform the future mission and mandate of the McIntosh Gallery?

II. Governance and Management
In light of the mission and mandate of the McIntosh Gallery, what might the appropriate governance structure be for the McIntosh Gallery in terms of the following:
a) Considerations given its status as a public art gallery
b) Current positioning within the V.P. (External) portfolio
c) Status of the McIntosh Gallery Committee as a standing committee of the Board of Governors of The University of Western Ontario
d) Internal functions: is the management structure of the Gallery appropriate and are management functions effective?

III. Internal and External Relationships
What are the expectations and the consequences of internal and external relations within the University and with other organizations?
What should the McIntosh Gallery's relationship be with other academic and administrative units within the University?
What should the McIntosh Gallery's relationship be with other external cultural institutions and groups in the City of London, the Province, the Country and internationally?

IV. Programming/Collection
What kinds of programming should the McIntosh Gallery undertake?
What is the role of the Collection and how should it be resourced?
What are the expectations and the consequences?
How should the Collection be accessed, including considerations of exhibitions, Artshare, research and loans?

V. Resources
What are the appropriate physical, human and financial resources needed to support the McIntosh Gallery?
What might the appropriate balance be between operating funding, external funding and endowment funds?
What consideration should be given the maintenance of the existing spaces dedicated to the McIntosh Gallery and the future space needs or possible expansion?
What consideration is required for succession planning?

VI. Timetable
December, 2006: McIntosh Gallery Committee approve Strategic Planning Committee composition and Draft Terms of Reference;
January - February 2007: work with Ted Garrard to recruit Strategic Planning Committee members and Chair; hire a consultant/facilitator; share terms of reference with potential stakeholders to be involved in the process, interviewees, or invited reports
February - May, 2007: information gathering/research; consultation process, public soundings/interviews/written submissions
May - August, 2007: report writing
September, 2007 review of draft written report/recommendations by McIntosh Gallery Committee and Strategic Planning Committee
October 15, 2007 final report deadline
November, 2007 report public release and feedback; implementation priorities and schedule

We have had an exciting summer here at the McIntosh Gallery - the Maysale set a record in revenue over $12,000, we received an increase in funding from the University, and the Gallery was the focus of a formal external review.

In the current fiscal year Western has increased the base budget of the McIntosh Gallery by $82,500 to a total of $259,058 of a projected total budget for the year of some $400,000. In concert with the increased funding, Ted Garrard, Western's V.P. (External), supported the Formal External Review of the Gallery, the first since the Arnott Feasibility study in 1993. The McIntosh Gallery Committee of Western's Board of Governors conducted the review of the Gallery's operations in preparation for the future planning to assist with determining the nature, structure and scope of the McIntosh Gallery's role as a public art a gallery at The University of Western Ontario and beyond. On June 19 and 20, 2006 Janet Brooke, Director, Agnes Etherington Art Centre, Sandra Dyck, Curator, Carleton University Art Gallery and Tom Smart, Director, McMichael Canadian Collection interviewed 22 stakeholders; met with staff, administrators and governing committee members; held a public forum and accepted written submissions.

The main points of their recommendations focused on core concerns including: develop a formal, five-year strategic plan for the McIntosh Gallery that would situate the Gallery within the University's strategic plan; reconsider the current reporting structure witihin the University; and re-evalutate the resources of the McIntosh Gallery.

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New Acquisitions

The University Board of Governors Art Collection Policy specifies the following areas of acquisition:

1) local artists;
2) artists of national significance;
3) artists of international significance when their influence on local artists can be documented.
(For a more detailed description, please see the Legacies and Giving section elsewhere on this website.)

Over the past year, the McIntosh Gallery was offered 68 donations to the Collection of which the Acquisitions Committee accepted 25 artworks which in its opinion expanded appropriately the existing representation of various artists including:
Sacred Map by Roly Fenwick; The Other Side of Mourning by Jean Spence; untitled landscape by Elizabeth McGillivray Knowles; Courtship by Gil Moll.?We thank all of our donors for their generous gifts which enhance the Art Collection as a research tool and repository of important cultural objects.

Touring Exhibitions and Collaborations:

Following the success of the touring exhibition Tom Benner: Cruising the Margins, the McIntosh Gallery has embarked on a series of?collaborations with other public galleries to produced travelling exhibitions. This provides the opportunity to pool financial resources to produce a more substantial catalogue/document.

AGNETA DOLMAN: OUR HOME AND NATIVE LAND
in collaboration with Woodstock Art Gallery, St. Thomas-Elgin Public Arts Centre, Thames Art Gallery (Chatham), and Gallery Lambton (Sarnia).

Upcoming project:

JOSEPH HUBBARD: WMDs AND PARANOIA
in collaboration with Thames Art Gallery (Chatham), Gallery Lambton (Sarnia), and St. Thomas-Elgin Public Arts Centre.

GROWING THE COLLECTION: New Acquisitions in Context

June 4 - August 16, 2009

SECONDARY SOURCES PARTNERS JOHN PAUL II STUDENTS WITH McINTOSH COLLECTION April 30 – May 31, 2009

FANSHAWE FINE ARTS GRADS TURN UP THE VOLUME!

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DID YOU MISS THE CBC ANTIQUES ROADSHOW WHEN IT WAS IN LONDON?

FANSHAWE FINE ARTS GRADS TURN UP THE VOLUME!

DID YOU MISS THE CBC ANTIQUES ROADSHOW WHEN IT WAS IN LONDON?

ANTIQUES APPRAISAL DAY

EXHIBITIONS EXPLORE MOHAWK LANGUAGE, ART AND FIRST NATIONS' STUDENT EXPERIENCE AT WESTERN

EXHIBITIONS EXPLORE MOHAWK LANGUAGE, ART AND FIRST NATIONS' STUDENT EXPERIENCE AT WESTERN

Reaching for My Degree Bev Antone

Storm marches eastward Carla Mishibinijima

First Nations' Field of Dreams Cordeila Antone

Gently Walking Elaine V. Antone

Blanket Joe Restoule General

Me Tisha Summers

Catching My Dreams Anthony Isaac

Marlene Creates: Signs of Our Time

Opening: Thursday, January 15 at 5 pm with artist present

Thursday, January 15 - Sunday, February 22.

Marlene Creates: Signs of Our Time

Thursday, January 15 - Sunday, February 22

McIntosh Gallery & Indigenous Services, Western invite submissions for

THROUGH MY EYES

A Juried Exhibition of photo-based Art open to all Indigenous Students registered at The University of Western Ontario.

Submission Deadline: Friday, February 13 at 4:00 pm.

McIntosh Gallery & Indigenous Services, Western invite submissions for

THROUGH MY EYES

A Juried Exhibition of photo-based Art open to all Indigenous Students registered at The University of Western Ontario.

Please click here for the entry form

Please click here for more information

FRACTURED REFLECTIONS

DAGMAR KOVAR: SILENCE DON MAYNARD: FALLING TO PIECES November 6 - December 7, 2008 Opening: Thursday, November 6 at 7:30 pm

Please click Here for the invitation to the show.

Please click Here for more information on the above Exhibitions.

FRACTURED REFLECTIONS

DAGMAR KOVAR: SILENCE DON MAYNARD: FALLING TO PIECES November 6 - December 7, 2008 Opening: Thursday, November 6 at 7:30 pm

EXHIBITION EXAMINES PRESENCE OF SILENCE

Hinterlands

September 18 - November 2, 2008

Letter From the Director, Arlene Kennedy:

The Spectacular McIntosh Art Book Sale

SECONDARY SOURCES PARTNERS JOHN PAUL II STUDENTS WITH McINTOSH COLLECTION

April 30 – May 31, 2009

Reaching for My Degree
Bev Antone

Storm marches eastward
Carla Mishibinijima

First Nations' Field of Dreams
Cordeila Antone

Gently Walking
Elaine V. Antone

Blanket
Joe Restoule General

Me
Tisha Summers

Catching My Dreams
Anthony Isaac

A Juried Exhibition of photo-based Art open to all Indigenous Students registered at
The University of Western Ontario.

A Juried Exhibition of photo-based Art open to all Indigenous Students registered at
The University of Western Ontario.

DAGMAR KOVAR: SILENCE
DON MAYNARD: FALLING TO PIECES
November 6 - December 7, 2008
Opening: Thursday, November 6 at 7:30 pm

DAGMAR KOVAR: SILENCE
DON MAYNARD: FALLING TO PIECES
November 6 - December 7, 2008
Opening: Thursday, November 6 at 7:30 pm