Affichage de 181 résultats

Exposition ouverte le 17 juillet 1976, Corridart: dans la rue Sherbrooke est l'une des principales réalisations du Programme des arts et de la culture pour les Jeux olympiques de 1976 à Montréal. Corridart a été organisée par l'artiste architecte Melvin Charney et coordonnée par André Ménard du Programme des arts et de la culture du Comité organisateur des jeux olympiques (COJO). Elle fut financée par une subvention de 386,000$ du ministère des Affaires culturelles du Québec.

Initiallement proposé par Fernande Saint-Martin comme un festival d'art sur la rue, Corridart a plutôt adopté le thème du rôle de la rue dans l'histoire et la société de Montréal. Une compétition avec jury a été ouverte à tous les artistes du Québec jusqu'en décembre 1975. Trois cent six projets ont été soumis. L'esposition était constituée de 22 projets et s'étendait sur 5.5 miles le long de la rue Sherbrooke entre l'avenue Atwater et le boulevard Pie-IX où était situé le site olympique. Corridart prit la forme d'une série de projets individuels dans un assemblage continu connu sous le nom de Mémoire de la rue qui liait ensemble les installations et les activités.

Corridart devait se tenir du 7 au 31 juillet. Les artistes commencèrent à installer leurs oeuvres en juin. Le 7 juillet, un vernissage pour commémorer l'ouverture de l'exposition eut lieu à la Galerie d'art de l'Univrsité du Québec à Montréal sur la rue Sherbrooke. Il y eut des difficultés: certaines oeuvres furent vandalisées et certains artistes dont les projets ne furent pas choisis protestèrent à cause des modalités d'attribution. L'oeuvre d'Andy Dutkewych Suspension Two fut enlevée de son site au Parc Lafontaine par le département des parcs de la Ville de Montréal le 7 juillet, parce qu'il était considéré dangereux.

Le 13 juillet, le maire Jean Drapeau et le comité exécutif de la Ville de Montréal en ordonnèrent le démentèlement. Ils alléguèrent que les oeuvres contrevenaient aux règlements municipaux sur l'occupation de la place publique et que certaines d'entre elles représentaient un danger pour le public. Toutefois, les jounaux rapportèrent les propos d'un porte-parole du bureau du maire qui disait que l'exposition avait été démantelée par qu'elle était laide et obscène. Des employés municipaux, avec protection policière, enlevérent la plupart des oeuvres, incluant l'assemblage continu, dans la nuit du 13 juillet. Plusieurs oeuvres furent démantelées par leur propre créateur. Le démantèlement complet dura trois jours. Plusieurs sculptures qui étaient situées sur des propriétés privées sur la rue Sherbrooke furent laissées. La majorité des oeuvres d'art enlevées par les employées municipaux furent irrémédiablement ou sévèrement endommagées. Le ministre des Affaires culturelles du Québec, Jean-Paul L'Allier, ordonna que l'exposition soit remise en place, mais il fut ignoré par les dirigeants de la Ville.

À la fin de l´été 1976, une poursuite légale fut intentée par plusieurs participants de Corridart. En novembre, 12 artistes de Corridart entamèrent une poursuite civile en dommages contre la Ville de Montréal pour 350,000$. Cinq ans plus tard, une décision fut rendue basée plus sur les défauts esthétiques perçus de Corridart que sur des précédents juridiques: les autorités considéraient que trop d'oeuvres montraient des images défavorables de la ville, de ses habitants et de sa croissance. Bien que les artistes aient commencé un appel contre cette décision en 1982, la Ville de Montréal a réussi à freiner le tout. Finalement, en 1988 lorsque l'appel allait être entendu, le nouveau maire Jean Doré offrit un règlement hors-cour. Les 12 artistes impliqués dans la poursuite reçurent la somme totale de 85,000$. Près de 60% du montant fut utilisé pour payer les frais légaux. Les artistes reçurent donc environ 3,000$ chacun.

Les artistes, architectes, artisans et interprètes suivants furent impliqués dans Corridart dans la rue Sherbrooke:

Archigrok (Tom Dubicanac with Ted Cavanagh)
Pierre Ayot
Bruno Caroit
Jean-Serge Champagne
Melvin Charney
Yvon Cozic
Monique Brassard Cozic
Marc Cramer
Gilles Dussureault
Andy Dutkewych
Le Groupe de l'Enfant Fort
Denis Forcier
Serge Gagnon
Laurent Gascon
Trevor Goring
Michael Haslam
Louis L'Abbé
Jean-Claude Marsan
Bob McKenna
Kevin McKenna
Guy Montpetit
Danyelle Morin
Jean Noël
Kina Reusch
Pierre Richard
Lucie Ruelland
Jean-Pierre Séguin
Françoise Sullivan
Claude Thibodeau
Bill Vazan
René Viau

Une annexe à l'instrument de recherche liste les projets inclus dans Corridart dans la rue Sherbrooke. Elle contient les noms des créateurs de chaque oeuvre, une brêve description, sa localisation et une liste de photographies.

D'autres performances liées à Corridart ont eu lieu. Celles-ci incluaient des concerts de musique de chambre, des récitals de poésie (au Théâtre de la verdure du Parc Lafontaine), ainsi que des spectacles de clowns et de magiciens au Parc Lafontaine et au Carré St-Louis.

Une exposition, Directions Montréal 1972-1976, reliée à Corridart fut organisée à la galerie d'art auto-gérée Véhicule. Les artistes qui créèrent les oeuvres pour cette exposition furent:

Allan Bealy
Pierre Boogaerts
Charles Gagnon
Betty Goodwin
John Heward
Miljenko Horvat
Christian Knudsen
Suzy Lake
Claude Mongrain
Jacques Palumbo
Leopold Plotek
Roland Poulin
Henry Saxe
Roger Vilder
Hans Van Hoek
Irene Whittome.

La Centrale Galerie Powerhouse est une organisation sans but lucrative, située à Montréal / Québec. Elle a été fondée en décembre 1973 comme première galerie d’art féministe au Canada. La Centrale Galerie Powerhouse, à l’époque appelé Powerhouse, était l’initiative d’un groupe de femmes artistes associées au Flaming Apron, un magasin et lieu de rencontre situé dans le quartier montréalais Notre-Dame-de-Grâce (NDG). La galerie fut incorporée en avril 1974 sous le nom Galerie et atelier La Centrale électrique - Powerhouse Gallery & studio. Aujourd’hui, elle est généralement appelée La Centrale.

La galerie Powerhouse fut d'abord située dans un appartement au 1210, avenue Greene à Westmount. En 1974, elle déménageait au 3738, rue Saint-Dominique. A cette endroit, une espace de performance ouvrait ses portes en 1976. En 1987, la galerie s’installait au 4060, boulevard Saint-Laurent, où se trouvait les locaux de six autre organisations ouvrant dans les arts. Conjointement avec DARE-DARE et Skol, La centrale déménageait au 279, rue Sherbrooke Ouest en 1991. En juin 1996, la galerie emménageait au 460, rue Sainte-Catherine. Depuis juillet 2004, La Centrale se trouve au 4296, boulevard Saint-Laurent.

De 1990 à 1996, La Centrale était membre de la Société du 5 avril. Depuis 1986, la galerie est membre du Regroupement des centres d’artistes autogérés du Québec (RCAAQ).

La Centrale fut la première galerie à être dirigée par des femmes artistes non seulement à Montréal, mais aussi au Canada. Au début, l’objective de la galerie Powerhouse était de prendre position contre la sous-représentation des femmes au niveau des arts visuels, en soutenant et exposant les travaux des femmes artistes qui n'avait pas les moyens de payer les frais d'exposition ailleurs. Au cours des années, La Centrale est devenue une espace d’exposition importante, présentant des œuvres contemporains créés par des femmes à différentes étapes de leurs carrières. En 2007, La Centrale a changé son mandat pour soutenir pas seulement les femmes, mais tous les groupes marginalises dans les institutions culturelles dominantes.

La programmation de La Centrale intègre des travaux venant des domaines artistiques divers, y compris la sculpture, la peinture, le dessin, l'intervention, la performance, l'installation, l'animation 3D, l'art audio ainsi que les nouveaux médias. La programmation consiste en expositions, présentations vidéo, lancements de livres, conférences, visites d’atelier, rencontres avec des artistes et tables rondes. En plus de la programmation générale, La Centrale présentait de 1994 à 2004 à tous les deux ans le Mois de la Performance. En 2006, cette évènement a été remplacée par le festival montréalais VIVA! Art Action. La Centrale participe aussi au festival HTMlles organisé par Studio XX à Montréal depuis 1997.
En outre, la galerie soutient la recherche sur les pratiques artistiques, le féminisme, la théorie des genres, et autre. En réponse au monde artistique changeant et au intérêt de ses membres, La Centrale est en évolution permanente et encourage le développement de nouveaux modes d'expression artistique.

Afin de pouvoir représenter les intérêts et la dynamique de ses membres, le fonctionnement de La Centrale est basé sur l’implication de ses membres. Tous les membres constituent l’assemblée générale, et sont invités de participer bénévolement au divers comités. Les fonctions principales de la galerie sont couvertes par les comités permanents, comme le conseil d’administration et le comité de programmation. Des comités ad hoc sont établi par le conseil d’administration sur une base temporaire pour supporter des activités spécifiques.

The Quebec Drama Federation is Quebec's umbrella association for English-language theater. The Federation is an outgrowth of the former Quebec Drama Festival, which was created in 1972 with the collapse of the Dominion Drama Festival. In 1981 a new festival was initiated, and in 1989 the organization changed its name to Quebec Drama Federation. QDF was re-incorporated as a federation in 1992 and completed its last festival in 1993. Current membership includes 100 individual artists and 50 theatre companies. QDF provides leadership in promotion, development, support, and advocacy. The mandate is to represent professional and aspiring theatre companies, individual artists, theatrical practitioners, theatre companies, and theatrical educators. Among the areas of ongoing research, consultation, and representation are access to cultural infrastructures, training resources, copyright protection, and a fair taxation system for artists. The Federation is supported by its members and the Department of Canadian Heritage, le Conseil des arts et des lettres du Québec, Emploi-Québec, and other organizations.

Concordia University Television (CUTV) is a closed circuit television station under student management. TV Sir George became CUTV in January 1975, following the creation of Concordia University in August 1974. CUTV enjoyed a good working relationship with the Concordia Audio-Visual Department. The arrangement they had was mutually advantageous. CUTV had special borrowing privileges which represented a substantial saving. The AV Department, on the other hand, looked to CUTV for the skilled people it needed as part-time workers. CUTV was a club member of the Concordia University Student Association (CUSA) and then the Concordia Student Union (CSU) until 2003 when CUTV transferred its ownership to the Concordia Student Broadcasting Corporation, the parent company of CJLO radio.

In March 1998, Computing Services Department and the Audio Visual Department formally merged into a single unit, named Instructional and Information Technological Services (IITS). The former director of Computing Services, John Woodrow, became the Executive Director of the new unit. At the time of his retirement from Concordia in 2001, he was replaced by Andre McAusland, former Director of Academic Technology of the Faculty of Arts and Science. Creative Media Services (CMS) was part of IITS for 9 years (2002-2009). Its mandate was to provide multimedia production services to the whole Concordia University community. CMS had its origins in Academic Technology of the Faculty of Arts and Science, joined IITS in June 2002, and adopted its name in September 2004. CMS was transferred to University Communications Services (UCS) on June 1, 2009.

The formation of the Advertising Office, around 1976, came as a result of the increasing need of the University community to publicize itself and its activities on both campuses through the means of the information media and promotional publicity. First under the auspices of the Information Office, the office became a separate department around 1978. Michael Hainsworth was its director until his departure in 1995, followed by Sandra Spina. The Department of Advertising (sometimes also called Department of Advertising and Publications), which reported to the Vice-Rector, Institutional Relations and Finance, became the Department of Marketing Communications in August 1990. The department also became responsible for the Information Desk in 2001. It was merged with University Communications Services by the year 2006.

By 2000, in accordance to the final report of the Advancement and Alumni Task Force (October 12, 1999), the offices of Alumni Affairs and University Advancement were organizationally and geographically consolidated to integrate the alumni service and fundraising functions. Both units moved to the fifth floor of the Faubourg Building in the Summer of 2000 and became one unit: University Advancement and Alumni Relations (AAR) which was renamed University Advancement in May 2019. The unit was reporting to the Vice-Rector, Institutional Relations and Secretary-General. In November 2003, also in accordance to the Task Force report, a position of Vice-President, Advancement and Alumni Affairs was created (Board of Governors Resolution R2003-96). The position was filled in 2005. Through the years, the position portfolio and title have been modified. Consequently, Advancement and Alumni Relations have been under the responsibility of the following Vice-Presidents:
• Kathy Assayag, Vice-President, Advancement and Alumni Relations, January 10, 2005 to September 2010 (her title was V-P, Advancement and Alumni Affairs until May 19, 2005).
• Dominique McCaughey, Acting Vice-President, Advancement and Alumni Relations, September 2010 to January 2012.
• Marie-Claire Morin, Vice-President, Advancement and Alumni Relations, January 9, 2012 to May 2013.
• Bram Freedman, Vice-President, Development and External Relations, and Secretary-General, July 2013 to November 30, 2015
• Bram Freedman, Vice-President, Advancement and External Relations, December 1, 2015 to to July 6, 2018.

La St. Ann's Young Men's Society a été fondée à Griffintown, Montréal, en 1885. La société était située sur la rue Ottawa et contenait une bibliothèque, un gymnase et une salle de concert, et offrait du théâtre, d'athlétisme et de débat. La St. Ann's Young Men's Society a participé au défilé annuel de la Fête de la Saint-Patrick.

The Negro Community Centre was established in 1927 under the leadership of Charles H. Este, pastor of the Union United Church in Montreal. Reverend Charles H. Este, along with members of the Union United Church, set out to create an organization to help alleviate distress among Montreal's Black community.

The Centre, which first came into being in the living room of Reverend Charles H. Este, was located in a series of rented room in the St. Antoine Street district, also known as Little Burgundy, during its early years of operation. In 1930, the Centre moved into the basement of the Union United Church, located at 3007 Delisle Street. Due to a lack of space at the Union United Church, some of the Centre's early activities took place at Royal Arthur School. Originally supported by the Canadian National Railway, the Negro Community Centre obtained financial support from the Financial Federation of Montreal beginning in 1929. The Centre was accredited by the Council of Social Agencies in 1928. It was incorporated in 1949.

The Negro Community Centre remained at the Union United Church until 1955, at which time it moved into the Iverley Community Centre, located at 2035 Coursol Street. This move was a consequence of the merger of the Negro Community Centre and the Iverly Community Centre, which occurred as a result of the social welfare planning of the United Red Feather Service (now Centraide). By mutual agreement of the Boards of Directors, the Negro Community Centre moved into the building owned by the Iverley Community Centre on Coursol. The building, which was expanded over the years, included offices, a gymnasium, a sewing room, a kitchen, a library, and a credit union office (Walker Credit Union). The deed to the building was transferred from the Iverley Centre to the Negro Community Centre during the Annual General Meeting held in 1965.

The first programs offered at the Negro Community Centre were oriented towards the educational and recreational needs of children and teenagers. In 1949 under the guidance of Stanley A. Clyke, the Negro Community Centre began to develop age-specific activities for all members, and integrated health and welfare services into its programming. A variety of activities and services were offered over the years, including a daycare, summer camps, dance and music lessons, after-school programs, a seniors program, and language courses, among many others.

The Centre for Building Studies (CBS) was established in January 1977 to serve the building industry through teaching, research, and development program. Then located at the corner of Guy and Ste-Catherine, it was officially opened by the Quebec Minister of Education Jacques-Yvan Morin on February 17, 1978. Dr. Paul Fazio, who created the CBS, was its director until 1997. In May 1997, the CBS and the Department of Civil Engineering were united in one academic and administrative unit called School of Building which was renamed the Department of Building, Civil and Environmental Engineering in November 1998. The Centre for Building Studies remains an active research centre within the Department.

The Mel Hoppenheim School of Cinema has its origins in the Sir George Williams University (SGWU) Moving Pictures program, which was located in the Department of Fine Arts. The development of this program first appeared following a draft proposal for a Cinema Major in 1972, commissioned by Professors Alfred Pinsky and Edwy Cooke. After the merger of SGWU and Loyola College to form Concordia University in 1974, the program became the Cinema Section of the Visual Arts Division of the new Faculty of Fine Arts. A Cinema proposal was submitted in 1974 to which the Quebec Conseil des universités answered with recommendations in 1978, leading to the creation of two specializations: Film Studies and Film Production, in 1980-1981. Later, another specialization in Film Animation will be added. In 1981, the Faculty of Fine Arts was reorganized and existing Divisions were replaced by formally created departments. The Cinema and the Photography programs were joined together to form the Department of Cinema and Photography. In June 1986, the department was renamed Department of Cinema when the two programs of Photography and Printmaking were established as one department. From 1988, the Department of Cinema offers a graduate program in Film Production joint with the Studio Arts program. The Digital Animation, Digital Image/Sound program was launched in June of 1997. In December 1997, the department again changed its name for the Mel Hoppenheim School of Cinema. In 1998, the department offers a new graduate program in Film Studies.

The Concordia Undergraduate Journal of Art History (CUJAH) is a student-run annual publication that aims to showcase the talents of Concordia University’s undergraduate Art History and Fine Arts students since 2004-2005. CUJAH is composed of an executive committee of editors, copy editors, feature writers, and is assisted by faculty members in the Department of Art History.

With the merger in 1974 of Loyola College and Sir George Williams University (SGWU) to form Concordia University, the SGWU and Loyola Faculties of Engineering were combined to form the Concordia Faculty of Engineering. In December 1980, in order to describe more accurately the activity of the Faculty, its name was changed to Faculty of Engineering and Computer Science. In the Fall of 2018, Concordia has renamed the faculty after Gina Cody (MEng 81, PhD 89) in recognition of her generosity to her alma mater and achievements in her field.

In 1977, after lengthy discussions Senate and Board of Governors approved the formation of Concordia’s Faculty of Arts and Science through the consolidation of Sir George Williams Faculty of Arts and Faculty of Science, and Loyola Faculty of Arts and Science. The new structure had three divisions of academic departments (each division with a divisional dean) and a division for small units such as colleges (headed by a Provost); all were responsible to a separate Vice-Rector Academic (V-R Academic, Arts and Science) effective July 1, 1977. On January 17, 1985, the Board of Governors approved restructuring of the Faculty of Arts and Science with a single Dean and four Vice-Deans, eliminating existing divisions. The four divisions of the Faculty were united under a single Dean by July 1, 1985.

The Department of Applied Social Science was created in1963 at Sir George Williams University, simultaneously with the Centre for Human Relations and Community Studies under the vision and guidance of Principal Robert C. Rae and Dr. Hedley G. Dimock, who became the first Chairman of the department and Director of the Centre. The Centre was a research, consultation and training service of the Department. In November 1997, the Department of Applied Social Science was amalgamated with Leisure Studies to establish the Department of Applied Human Sciences.

The position of Vice-Rector, Administration and Finance was established on August 10, 1973, with the adoption by the Board of Governors of By-Law “D” which established the governing and administrative structure of the coming new university, Concordia University. The new university received its official establishment from the Quebec only a year later, in August 1974. The office was partly in continuity with the former Office of the Vice-Principal, Administration and Finance at Sir George Williams University (SGWU). The Concordia Vice-Rector, Administration and Finance was responsible to the Rector for the general administration of the University and was a member of the Board of Governors. In October 1984 the position of the Vice-Rector, Administration and Finance was divided in two new ones, Vice-rector Services and Vice-Rector, Institutional and Finance, creating two new offices.

The Sir George Williams University Art Gallery officially opened in 1966 in the Henry F. Hall Building. In 1984, the space was renamed the Concordia Art Gallery. In 1992 the Gallery was renamed in honour Leonard and Bina Ellen.

The Centre for Interdisciplinary Studies in Society and Culture (CISSC) was established in 2007. It houses the Humanities Interdisciplinary PhD program (HUMA), which was inaugurated in 1973 at Sir George Williams University.

CISSC aims to bring Concordia's scholars, artists and students together to exchange ideas and develop interdisciplinary projects in the humanities, social sciences and fine arts.

The Literary Translators’ Association of Canada (LTAC) was founded in 1975 is devoted to promoting the art of literary translation and the interests of the profession. Providing access to literature written in other languages and conveying culture across linguistic lines, LTAC members act as full partners in the publishing world. They translate works of fiction, non-fiction, poetry and drama into some twenty languages. Every year since 1982, the Literary Translators’ Association of Canada has awarded the John Glassco Translation Prize to recognize the excellence and talent of an emerging literary translator. The winner receives a $1,000 prize and one-year membership to LTAC.

The Department of Accountancy is one of the largest in Canada, with programs at both the undergraduate and graduate levels.

Le Conseil québécois de l’estampe (CQE) a été fondé en 1978 sous le nom de Conseil de la gravure du Québec. Le CQE contribue à la visibilité des nouveaux artistes de l'estampe en organisant des expositions et en facilitant le réseautage entre les artistes et les organisations partenaires à travers des rencontres et des événements. Le CQE vise à améliorer les conditions des artistes et à faire connaître leurs pratiques à travers leurs publications comme le Code d'éthique de l'estame originale, publié pour la première fois en 1983. En 1988, le CQE crée le Prix Albert-Dumouchel pour récompenser les nouveaux artistes de l’estampe. Dans l’année 2002, le CQE a aussi créé le Mois de l'estampe, renommée plus tard comme Mois de l'art imprimé. Le nom de l'organisation a été changé de Conseil de la gravure du Québec à Conseil québécois de l'estampe en 1983. En 2005, le CQE devient Arprim (Regroupement pour la promotion de l'art imprimé) en réponse aux nouveaux besoins de la scène artistique de l’estampe.

The Oscar Peterson Concert Hall was built in 1990 as part of the revitalization of the Loyola campus. Since opening, the hall has hosted many internationally renowned artists, comedians and musicians, including Wynton Marsalis, Arlo Guthrie, Roger McGuinn, Kitty Wells, Stompin Tom Connors, Tommy Hunter, Richie Havens, Theo Bikell, Max Amini, Maz Jobrani, Orny Adams, Ranee Lee and Oliver Jones. The Oscar Peterson Concert Hall is also used for recordings.

Originally named the Concordia Concert Hall the venue was renamed for acclaimed Montreal pianist Oscar Peterson in 1999.

• The Institute is launched on March 6, 2001.
• First Nations Artists in Canada by Joan Reid Acland was the first book published by the Institute in 2001.

Le Service des archives de l'Université concordia a été créé en 1974. Il est le dépositaire officiel des documents de l'Université Concordia et de ses deux institutions fondatrices, le Loyola College et la Sir George Williams University. Le Service des archives acquiert et traite des fonds et collections d'archives privées dont les contenus sont reliés à l'histoire de l'Université Concordia ou aux activités de recherche qui s'y déroulent. Une des zones d'excellence du Service des archives de l'Université Concordia est la musique de jazz, afin de soutenir le département de musique.