Project Development

Kristin Watt
AGAD 226
Candace Makowichuk
5 December 2013

The Luna
Contemporary
Gallery of
Edmonton
December 5
2012
[The Luna Contemporary Art Gallery of Edmonton] December 5, 2013

1 | P a ge

Table of Contents
ORGANIZATION ............................................................................................................. 3
History/ Background: ................................................................................................... 3
Mission: .................................................................................................................... 3
Vision: ...................................................................................................................... 4
Goals and Objectives ................................................................................................... 4
Goal #1 .................................................................................................................... 4
Goal #2 .................................................................................................................... 5
Goal #3 .................................................................................................................... 5
Goal #4 .................................................................................................................... 6
Luna Staff Organizational Chart .................................................................................. 7
EXHIBITION .................................................................................................................... 8
Title of Exhibition ......................................................................................................... 8
Date Exhibition ............................................................................................................ 8
Date of Template Completion ...................................................................................... 8
Dates of Subsequent Revisions ................................................................................... 8
Person Completing Template and Contact Information ............................................... 8
Mission/Mandate.......................................................................................................... 9
Aims/Goals .................................................................................................................. 9
Description of Exhibition .............................................................................................. 9
Research Materials/Artifact Loans ............................................................................. 10
Conservation Issues .................................................................................................. 11
Security ...................................................................................................................... 12
Technology ................................................................................................................ 12
Target Group(s) ......................................................................................................... 13
Web Presence ........................................................................................................... 13
Timelines ................................................................................................................... 14
Objectives for the Visitors Experience ...................................................................... 15
Name of Program ...................................................................................................... 16
Date of Program ........................................................................................................ 16
Aims/Goals ................................................................................................................ 16
Description of Education Program ............................................................................. 16
Technology ................................................................................................................ 17
Target Group(s) ......................................................................................................... 18
Web Presence ........................................................................................................... 18
Timelines ................................................................................................................... 19

2 | P a ge

Objectives for the Visitor Experience ......................................................................... 19
EVALUATION/ IMPACT ................................................................................................ 21
Evaluation Tools/Methods/Strategies: ....................................................................... 21
Program Success Indicators ...................................................................................... 22
Quantitative Outputs .............................................................................................. 23
Qualitative Indicators .............................................................................................. 23
Weather ..................................................................................................................... 24
Other Community Events or Factors .......................................................................... 24
Total Attendance........................................................................................................ 24
Criticism for Coordinator/ Staff/ Volunteers ................................................................ 25
Critical Assessment of the Program/Event ................................................................ 26
APENDIX ...................................................................................................................... 28
List of Exhibit Pieces .................................................................................................. 28
1. ............................................................................................................................ 28
2. ............................................................................................................................ 29
3. ............................................................................................................................ 30
4. ............................................................................................................................ 31
5. ............................................................................................................................ 32
6. ............................................................................................................................ 33
7. ............................................................................................................................ 34
8. ............................................................................................................................ 35
9. ............................................................................................................................ 36
10. .......................................................................................................................... 37
11. .......................................................................................................................... 38
12. .......................................................................................................................... 39
Loan Document ......................................................................................................... 40
Floor Plan .................................................................................................................. 43
Main Floor .............................................................................................................. 43
Top Floor ................................................................................................................ 43


3 | P a ge

ORGANIZATION
History/ Background:
The Luna Contemporary Art Gallery is located in Edmonton, Alberta. The gallery
houses its art on Stony Plain Road the corner of 152 street. The two story building
stands on its own as a brick mater piece of the 1960s, and is protected by the city of
Edmonton as a historical building. The Luna is around 19,000 square ft. with an open
style floor plan; tall cellings and brick foundation. The building has since seen a
makeover in 2001remodeling the interior; therefore, creating a more suitable
environment to host larger exhibits and the ability to properly position the art in the
gallery. The Luna has been a contributing member to Edmontons art community, ever
since they opened their doors in 1963. The gallery has been at the forefront supporting
contemporary art and artists; as well as, developing a market for the arts within
Edmonton communities.
Mission:
The Luna Contemporary Art Gallery is a public art gallery that is devoted to the
experience and knowledge of each participating patron. The gallery exclusively
promotes contemporary visual art, which is produced by local emerging artists with-in
Canada. The gallery is committed to the development of building relationships between
art, artists and audiences that support and contribute to a diverse art community.

4 | P a ge

Vision:
To provide opportunities for artists that foster creative practices in contemporary
art; while, engaging and educating our local and national communities on contemporary
art of Canadian artists
Goals and Objectives
Goal #1
To actively convey to the public the positive difference that the arts make in the
individual and collective lives in the Stony Plain Road communities.
Objectives:
Define the connections between the arts, education and economics where there
are common values, goals and outcomes to the public by posting an article in the
Vue every month.
Establish and build relationship opportunities between artists, artisans, arts
organizations, and the public by sending invitations out 3 weeks prior to every
exhibit opening.


5 | P a ge

Goal #2
To regularly refresh the permanent collection in a way that relates to the Luna
gallerys mission for the purpose of exposing dynamic Canadian art to Edmonton
communities.
Objectives:
The Artistic Director of the Luna will have open communication with Canadian
gallerys/organizations to share information on art collections annually.
The exhibit curator will attend 6 arts curatorial related conferences within Canada
every year to network with arts and cultural professionals and as a result have
greater access to traveling or available exhibits.
Dedicate 35% of the gallerys fiscal budget to refresh the permanent collection of
the gallery every 2 years on a 10 year plan.
Goal #3
To build supportive relationships/partnerships with Grant Mac Ewan University
students, in a way that works accommodatingly with their school programs for the
purpose of giving students easier access to the arts community.
Objectives:
Work with the faculty of the Grant Mac Ewan arts campus in the summer prior to
the new school year, to create effective programs outside of the university that
helps the students develop on-site skills.

6 | P a ge

Create three new placement positions every year for MacEwan students within
the arts community of the Stony Plain vicinity to add depth and unity to the
community.

Goal #4
Create a welcoming and stimulating experience for visitors of the Luna
Contemporary Art Gallery.
Objectives:
On a daily schedule, have front desk staff welcome every patron who enters the
gallery with an information pamphlet on the gallerys exhibits; and a smile.
Prior to an exhibit opening the curators assistant will ensure that an artists
statement is be posted with the exhibit, and each individual art work has a title
and description
Have the educational programmer maintain the gallerys now equipped audio
guides daily; additionally, the audio guide are available in French.

7 | P a ge

Luna Staff Organizational Chart


8 | P a ge

EXHIBITION
Title of Exhibition
An Overwhelming Relevance: Lost Among the Creation

Date Exhibition
February 7, 2014- May 30, 2014

Date of Template Completion
December 5, 2013

Dates of Subsequent Revisions
September 10, 2013
October 3, 2013
November 16, 2013

Person Completing Template and Contact Information
Kristin Watt
Artistic Director
Luna Contemporary Art Gallery of Edmonton


9 | P a ge

Mission/Mandate
The Luna Contemporary Art Gallery is a public art gallery that is devoted to the
experience and knowledge of each participating patron. The gallery exclusively
promotes contemporary visual art, which is produced by local emerging artists with-in
Canada. The gallery is committed to the development of building relationships between
art, artists and audiences that support and contribute to a diverse community.

Aims/Goals
The intent of the exhibit An Overwhelming Relevance: Lost Among the Creation
is to stimulate darker dejected emotions from the audience. Educational expectations of
the exhibit are about recalling peoples personal perceptions and experiences of serious
situations. Therefore, the exhibit creates an atmosphere of sharing that moment in a
public room; and having the knowledge that youre not alone and other people have
shared similar experiences. At the end of the exhibition there will be a comment book
for audiences to share their emotional experience, memories or understanding of the
exhibit; then curatorial staff will collect the book daily at the end of the gallerys day.

Description of Exhibition
The exhibition An Overwhelming Relevance: Lost Among the Creation is about
the feelings of being overwhelmed and burned-out. The exhibit touches on the subjects

10 | P a ge

of death, mental overexertion, and emotional distress in a sharing environment. The
Luna Contemporary Gallery is presenting an exhibit to recreate relationships on past
impressions of feeling overwhelmed, lost, and irrational or lonely. The concept of the
exhibit is the absence of blissful moments, yet the atmosphere breeds a sense of
understanding and ease by sharing the experience with other people. The visual art
styles vary from acrylic paint, photography, to new media, all with a theme concept of
emotional distress. The exhibition will have a precise of the document outlining the
research concluded to build the exhibit; this precise will be distributed to the staff,
volunteers, and board members. This summarized document with build depth and
understanding for the staff of the gallery; as well as, showing the magnitude of work and
dedication it took to create the exhibit.

Research Materials/Artifact Loans
The research that was prepared for the development of the exhibition was a
psychology thesis written by a student studying at the University of Alberta; the subject
of the paper was the psychological effects of having group understanding and similar
experiences of negative situations. The study concluded that people are less guarded of
sharing or re-experiencing negative events if their surrounding individuals (friends or
strangers) have shared the same or similar event. The exhibition is trying to reach
people through visual mediums to share the same negative experiences in a setting that

11 | P a ge

produces a coherence of understanding. All of the loans for the exhibit were reviewed
and documented by the gallerys Exhibit Curator and her assistant.
Stations, is an installation that is on loan from The Museum of Canada from
February 7, 2014 to May 30, 2014 for the exhibition. There is no ending or beginning to
Stations, and the concept is the continual cycles of life, death, and rebirth. The
installation is comprised of five video projections; each displaying a nude figure
suspended in water; furthermore, has an accompanied soundtrack of underwater
murmurs and gurgles. The images projected are of five nude figures that drift
downwards head first on projection screens till the images disappear. Additionally, the
figures are reflected on the granite slabs on the floor casting the impression of the
figures swimming in pools of black liquid.
Note: See list of the art pieces in the exhibit in the appendix of this document.

Conservation Issues
In terms of requiring special areas for the exhibit An Overwhelming Relevance:
Lost Among the Creation one of the exhibit pieces needs a special area. Stations, is an
installation that is on loan from the Museum of Canada, and needs a large area for the
proper set-up the installation. Additional features will also include the diming of the
lighting, to have the full experience of the projections and reflections. In addition to
needing a larger space, the installation also requires celling and electrical hanging for

12 | P a ge

the projectors and screens; as well as, reinforced support for the flooring because of the
five large granite pieces.

Security
The already in place security system the Luna gallery has, is an appropriate and
effective system. The gallery is equipped with motion detectors and video surveillance
of the main lobby, all exits, and the storage room. There is also a security guard who is
on sit during operation hours of the gallery. However, with art on loan from other
galleries extra precautions have been put in place such as: having security present in
the room of the on loan art, and supply glass cases for more sensitive art pieces.

Technology
There are two selections of art that require technological assistance Stations and
My birds...trash...the future. The Two-channel video (color, sound) art piece My
birds...trash...the future will require a television, as well as, the mounting of the
television on a wall within the gallery.
The art installation Stations is a media performance piece that has five video
projectors and five video screens. These components need to be properly installed,
focused and have electrical access. For the full effect intended by the artist to be
presented, the technological hook up needs to be installed properly. This attribute is not
represented by the staff at the Luna gallery, so a call for a video technician was sent to

13 | P a ge

the MacEwan arts campus for assistance. The rest of the art in the exhibition is either
paintings or sculpture.

Target Group(s)
The audience the exhibition is trying to target is not subjugated to any specific
group; the exhibit is meant for everyone because the content is easy to build a
connection with. However, people that would be most influenced by the exhibit would be
people who have experienced emotion, and mental distress. Statistics show that
students, care givers, and people who work in law enforcement are high burn-out
occupations, and these groups would benefit from sharing the experience of emotionally
stressful settings with others who have experienced emotional distress similar to theirs.
The exhibit would be more suitable for a mature audience, yet there is no rating that
would deter people from bringing younger children.

Web Presence
The exhibition will be promoted on the gallerys website starting J anuary 3, 2014
to gather as much attention as possible for the opening. The website will include a
description of the exhibit, the purpose of the exhibit, and the length of time the exhibit
will run. The website will also have a digital countdown for a month up until the event
opening.

14 | P a ge

The gallery will also post the exhibition information on their Facebook page and
Twitter account; and encouraging people to inquire about more information by visiting
the gallerys webpage.

Timelines
Date Task
J anuary 5, 2013 Research and decide on the theme for the exhibition
J anuary 11, 2013 Contact the Museum of Canada about an art loan.
February 8, 2013 Develop the rest of the exhibit
December 9, 2013 Secure and confirm all the art for exhibit (all contracts signed)
J anuary 3, 2014 Start the promotion campaign for the exhibition
J anuary 3, 2014 Sent out media release for exhibit
J anuary 9, 2014 Send out call for video technician to MacEwan
J anuary 12, 2014 Receive loan from Museum of Canada
J anuary 15, 2014 Have all art work in the facility ready to go
February 5-6 2014 Mounting of art and set up of exhibition
February 6, 2014 Exhibit opening
February 7, 2014 Exhibition start
May 30, 2014 Exhibition end
J une 1, 2014 Take down of exhibition
J une 20, 2014 Return art loans


15 | P a ge

Objectives for the Visitors Experience
The objectives for the visitors experience to the exhibition An Overwhelming
Relevance: Lost Among the Creation is to come to some sort of understating that
everyone has similar negative experiences in life. The exhibit allows the visitors to
wander through each room recalling personal memories of the content in the room;
these summoned memories are then shared by experiencing the content in a room with
strangers. Another objective of the visitors is to comprehend the undesirable content in
a public setting and have a feeling of comfort that the experience is a collective
awareness and support. At the end of the exhibit there will be several note pads where
the visitor are encouraged to disclose their experience they had during the exhibit, or to
share a past personal experience that was recollected by the exhibit.

16 | P a ge

PROGRAMMING
Name of Program
Modern Portfolios

Date of Program
J anuary 15, 2014

Aims/Goals
The Luna Contemporary Art Gallery of Edmonton is committed to the
development of building relationships between art, artists and audiences that support
and contribute to a diverse community. Therefore, the Luna art gallery is introducing a
new program on the development of professional portfolios. This program is targeting
MacEwan art students and any emerging artist who needs assistance in developing
their art portfolio. The course is idea for all art students or artists to gain updated
information on developing an attractive and impeccable appearing portfolio to submit to
any gallery or art school.

Description of Education Program
The goal of the program is to educate and support emerging artists develop a
professional organized portfolio of their work, to properly emirs themselves into the arts

17 | P a ge

community as professionals. The Modern Portfolio program is a two day workshop held
on weekends, three times a year. The program is very concentrated in producing high
quality portfolios and only takes on 8 students per workshop. During the two day course
vital information on layout, mounting, descriptions of art, organization, and personal
introductions are all explained and gone through with the students. The first day is about
preparation and all the information on building a professional portfolio is gone through
and worked on. Day two is where the students bring in their portfolios and start applying
their knowledge and in putting together their portfolios; with the teachers assistance
and guidance. The workshop educator is the Rochelle Ball the Curatorial Administrator
at the AGA. She has spent years viewing portfolios for admissions and can offer
valuable insight to the structure of professional art portfolios. The program is targeting
local emerging artists and art students who are looking at submitting a professional art
portfolio to schools or galleries. Having a fairly close proximity to MacEwan arts campus
and the J asper avenue arts community gives high hopes in the success of the program.

Technology
The new program offered by the Luna Contemporary Art Gallery of Edmonton is
a classroom oriented course. The technology that would be needed for the program
would be a projector and a projection screen for information to be explained to the
class. All other materials will be done by hand and will not need further technology.


18 | P a ge

Target Group(s)
The program is limited to who can participate, because of the list of required
materials needed before signing up. The restricting material of the program is the
minimum requirement of 10 pieces of visual art. The targeted group of visitors that the
program would target would be art students and artists. The program is also extended
to the MacEwan students who study Fine Arts and who are in the process of
assembling their portfolios. Artists can be from all levels in their profession; they can be
emerging artists/ or students who need to build a portfolio from the ground up, or can be
professional artists who need a recap on the development of professional art portfolios.
The program would offer a step-by-step process of building a portfolio with the right
requirements to support their application into the arts.

Web Presence
The new program offered by the gallery will be promoted on their website starting
J uly 16, 2014; to collect as much attention as possible for the first set of workshops
offered. The website will include a description of the program, learning objectives,
program contact information, cost, eligibility for the program, materials needed, and the
dates the program will be available.
The gallery will also post the new program information on their Facebook page
and Twitter account; and encouraging people to inquire about more information by
visiting the gallerys webpage.

19 | P a ge

Timelines
Date Task
November 26, 2012 Research into the program see if there is a demand
December 7, 2012 Research into who can be the instructor
February 3, 2013 Develop budget for program
February 19, 2013 Contact Rochelle Ball- Curatorial Administrator of the AGA to
inquire for the position of instructor
April 11, 2013 Signed contract between Rochelle Ball and Luna gallery
August 26, 2013 Develop schedule for program (coordinating with portfolio
submission dates and instructor)
February 19, 2014 Development of the learning objectives and content of the
program
J uly 16, 2014 Promotion campaign of the new program (general public)
September 8, 2014 Promotion campaign of the new program (MacEwan)
J anuary 15, 2014 Program launch

Objectives for the Visitor Experience
The Luna galley presents an educational program which offers a professional art
portfolio constructing workshop over a 16 hour 2 day period, with the intent of preparing
8 students to submit their art portfolios to professional facilities. The key learning
objectives will be: organization, presentation, content, and editing. The program is held
three times a year in September, J anuary, and May; because, submissions to post
secondarys institutions are in J uly. The first day the 8 participants will go over the

20 | P a ge

material for building a professional art portfolio; additionally, participates will partake in a
positive/ motivational classroom atmosphere that will encourage conversation and
interpretation. This will give the students confidence in their art, presentation, and
themselves as they emirs themselves in the arts community.
On the second day the participants will apply all the knowledge absorbed form
the prior day and physically build their art portfolio. The students will have to prepare: a
cover letter, resume, artist statement, biography, and a list of works. They will also be
expected to bring: a portfolio case, minimum of 10 selected art works/or photographs,
and a self-addressed stamped envelope. The gallery will supply the mounting supplies
of tape, sized paper, and protective coverings for the students to actually mount their art
with an instructors guidance.
Other opportunities that the program is introducing are concept of working with
people who attend the art classes at the Luna. These groups would have the ability to
create a professional art portfolio with the art work created at the Luna art classes.


21 | P a ge

EVALUATION/ IMPACT

Evaluation Tools/Methods/Strategies:
Methods that the gallery has put into place to evaluate the success of their
programming and exhibit were done in a variety of ways. The exhibition used several
evaluation tools, and one of them was a five question in-person survey that was
administered by the staff. The staff members all had to participate in a lecture and
workshop on properly administering in-person surveys. The surveys determined the
visitors perceptions, enjoyment, and learning outcome at the end of their exhibit
experience. At the end of the exhibit there are also comments books for visitors to share
their experience, opinion, or story after they have completed their walk through of the
exhibit. The comment books can assist in evaluating how impactful and provoking the
exhibit was to the visitors.
An evaluation of media mentions will also be monitored, including all: print, web,
television, and radio references. All online media sources that mention the exhibit will
have a web link saved in a document to reference back to; additionally, social media will
be monitored. Facebook and Twitter will be evaluated by the amount of likes, page
shares, tweets, and hashtag mentions.
Pro-active strategies for evaluating the success of the gallerys new program
were applied before and during the program. All social media related content that
mentioned the program was monitored. The evaluation of the social media was to

22 | P a ge

understand if the information was reaching artists or art students, by viewing their
profiles. The participant of the program will also be encouraged by the instructor to fill
out a class and instructor evaluation form. This strategy is to comprehend if the course
and the instructor are effective in content, teaching style, and predicted outcomes.

Program Success Indicators
Some indicators that would determine the success of the exhibition and program
of the Luna Gallery would be the visitors experience and if it met their expectations. For
the exhibition some success indicators would be: if memberships and attendance
increased overall, if the comment book was utilized, and if their experience met the
standard of the exhibition. The experience standards of the audience is to related to one
of the arts works presented in the exhibit and have a comprehension that others have
has similar experiences and as an individual you are not alone. Additionally the
comment book is where visitors would be encouraged to express their ideas,
comments, concerns, stories, and anything they want to reveal.
Also available will be pamphlets and other information packets located in the
front entrance/ exit of the gallery; the information would be directed towards support for
stress, depression, anxiety, and loneliness linking people to support groups and help.
Indications that would show how successful the program Modern
Portfolios would be the level of value the students found the workshop. Aspects such
as, if the time frame was suitable for the material needed to go over and if the overall

23 | P a ge

end project was of anticipated quality and effectiveness would be the main aspects
looked over at the end of the workshops. Additionally, receiving feedback on the quality
and professionalism of the portfolios from post-secondary institutions and galleries
whom had the opportunity to have the portfolios submitted to their facilities.

Quantitative Outputs
The exhibit quantitative outputs were determined by several indications such as: the
number of invitations sent and accepted, number of visitors who attended the opening,
total attendance to the exhibit, number of new members, and from the sales from the
gift shop. For the program quantities outputs were the 3 filled workshops, 100%
attendance, and the number of requests for increasing the number the workshops per
year.

Qualitative Indicators
The major indicator that the exhibit was successful would be the responses in the
comment book at the end of the exhibit; as well as, the in-person survey responses. As
for the program some qualitative indicators were received through the instructor
evaluation. The students were encouraged to give feedback what they really enjoyed or
what they thought needed improvement; whether it was directed towards the instructor,
content covered, materials, or timeframe.


24 | P a ge

Weather
The weather during the exhibit and program were in the winter months. There
had been snow storms all winter until J anuary, so people were more inclined to leave
their houses when the weather was nice. The exhibit took place in February after the
majority bad weather.
For the first round of the program as it occurs three times a year, took place in
J anuary. The weather was bad over the weekend of the workshop; but as there were
only 8 students all but one showed up. That one student negotiated to be moved into
the next set of workshops, as the student could not be blamed for the weather.

Other Community Events or Factors
The exhibit is taking place in February, after most holidays and other events;
therefore, people will have a more open schedule to attend the exhibition. The program
workshops take place three times a year and the first happens in J anuary. The
workshops works in conjunction with the timelines for student to submit or prepare their
portfolios in a timely manner to submit to post-secondarys institutions.

Total Attendance
The total attendance for the exhibit was as expected; the opening was a hit and
had full attendance from all the people who were invited. The duration of the exhibit

25 | P a ge

there was several school visits from post-secondarys institutions such as MacEwan, U
of A and Nait. The attendance rate for the general public was decent because of the
gallerys reputation of exhibiting interesting and creative work. The attendances of the
programs were very high; all three workshops were filled. The only absence was in the
first set of the workshops because of weather conditions.

Criticism for Coordinator/ Staff/ Volunteers

Praise/constructive criticism for the coordinator/staff/volunteers:

The staff and volunteers were amazing during the run of the exhibit. The staff because of
their training had to administer surveys; they were really engaged with the visitors and were a
positive addition to the exhibit experience. Because, of the extra work commitment of the staff
the gallery really relied on the volunteers to help in the reception area, with general information,
and other general duties.
The instructor for the program, Rochelle Ball was a fantastic addition to the Luna Gallery.
All her students gave her raving results in her instructors assessment; finding her very
affective.


26 | P a ge

Critical Assessment of the Program/Event
A critical assessment for the Luna gallerys staff and volunteers, and exhibition
and program is reliant on the level of involvement people felt through the process the
event they participated in. The curatorial staffs that were involved in the set-up and
take-down of the exhibit worked very cohesively throughout the project with no
problems. The educational programmer was also very effective in recruiting Rochelle
Ball the Curatorial Administrator at the AGA for the program instructor position.
There was a high dependency on the volunteers during the exhibition; they took
on a heavier work load during the course of the exhibition, because the staffs of the
gallery were partaking in the in-person surveys. A recommendation would be to split the
responsibility of the survey administering between staff and a few specifically selected
volunteers. This would relieve some dependency on the volunteers and allow staff to
perform their gallery duties.
Comments that were received through the program evaluation were very positive
in term of the instructor. Rochelle Ball the Curatorial Administrator at the AGA and
program instructor at the Luna gallery was very effective in her position.
Some of the other comments that were collected through the program evaluation
were very useful and intuitive to making improvements to the program. The main
grievance that was heard from the students was that lack of one-on-one attention to
each students portfolios. However, each concern was followed by a comment imposing
that this was because of time. A proposal could be, the program could reduce their
student attendance to the workshops, to allow more one- on- one attention between the

27 | P a ge

instructor and the students. Yet, to offset the workshops admittance, the course would
be offered once a month rather than the three times a year.
Other recommendations that could be made in conjunction to the exhibit and
program would have to be having more fun with the project. Opening my cabinet of
curiosities with less overthinking might help.

28 | P a ge

APENDIX
List of Exhibit Pieces
1.
Artist:
Annette Messager (French, born 1943)

Title:
My Vows

Date:
1988-91

Medium:
Photographs, colored graphite on paper,
string, black tape, and pushpins over black
paper or black synthetic polymer paint

Dimensions:
Overall approximately 356.2 x 200 cm

Borrowed from:
Museum of Modern Art (MoMA)


29 | P a ge

2.
Artist:
J eff Wall (Canadian, born 1946)

Title:
Milk

Date:
1984

Medium:
Silver dye bleach transparency; aluminum light

Dimensions:
Image: 189.2 x 229.2 cm Lightbox: 204.5 x 245.1 x 22.2 cm

Borrowed from:


30 | P a ge

3.
Artist:
Kthe Kollwitz (German, 18671945)

Profile Title:
War (Krieg)

Date:
1923, prints executed 1921-22

Medium:
Portfolio of seven woodcuts and one woodcut cover

Dimensions:
Each piece is approx: 47.6 x 65.9 cm

Borrowed from:


31 | P a ge

4.
Artist:
J oyce Wieland (Canadian, 1998)

Title:
Experiment with Life

Date:
1983

Medium:
oil on canvas

Dimensions:
62.1 x 82.4 cm

Borrowed from:
Luna collection


32 | P a ge

5.
Artist:
J ohn Scott (Canadian, born 1950)

Title:
I Wish You Were Here

Date:
1993

Medium:
Acrylic and metallic paint with traces of enamel paint on wove paper

Dimensions:
90.5 x 60.5 cm

Borrowed from:
National Gallery of Canada


33 | P a ge

6.
Artist:
Peter Hujar (American, 19341987)

Title:
Pascal (Paris)

Date:
1980

Medium:
Gelatin silver print

Dimensions:
37.1 x 37.3 cm

Borrowed from:


34 | P a ge

7.
Artist:
Felix Gonzalez-Torres (American, born Cuba. 19571996)

Title:
Untitled (Perfect Lovers)

Date:
1991

Medium:
Clocks, paint on wall

Dimensions:
35.6 x 71.2 x 7 cm

Borrowed from:


35 | P a ge

8.
Artist:
Paul Chan (Chinese, born Hong Kong 1973)

Title:
My birds...trash...the future

Date:
2004

Medium:
Two-channel video (color, sound)

Dimensions:
17 min.

Borrowed from:
Luna collection


36 | P a ge

9.
Artist:
Cozic (Canadian, 1944)

Title:
We Are Being Watched

Date:
2000

Medium:
Cardboard, vinyl, and fabric

Dimensions:
Installation dimensions variable

Borrowed from:


37 | P a ge

10.
Artist:
Dave Heath (American, Canadian, 1931)

Title:
New York City, 12 September 2002

Date:
2002

Medium:
Ink jet print

Dimensions:
31 x 46.7 cm

Borrowed from:
Canadian Museum of Contemporary Photography


38 | P a ge

11.
Artist:
Bill Viola (American, born 1951)

Title:
Stations

Date:
1994

Medium:
Five-channel video (color, sound), five granite slabs, five projection screens

Dimensions:
610 x 1525 x 1525 cm

Borrowed from:
Museum of Modern Art (MoMA) - Casie Packet


39 | P a ge

12.
Artist:
J ohn Massey (Canadian, born 1950)

Title:
Versailles

Date:
1985

Medium:
Serigraph in black and color photo-serigraph on wove paper

Dimensions:
127.5 x 97.2 cm; screen: 119.5 x 89.6 cm

Borrowed from:


40 | P a ge

Loan Document

BORROWING INSTITUTION:
Museum of Canada

ADDRESS:
King Edward Academy
8525 101 St NW
Edmonton, AB

TELEPHONE:
(780) 266- 2992

CONTACT PERSON:
Casie Hauck

LOAN PERIOD:
J anuary 8, 2014- J une 20, 2014

EXHIBITION TITLE:
An Overwhelming Relevance: Lost Among the Creation

EXHIBITION PERIOD:
February 7, 2014- May 30, 2014

OBJECT ITEM NUMBER:
649.1997

41 | P a ge

DESCRIPTION:
Five-channel video (color, sound)
five granite slabs
five projection screens

DIMENSIONS: (cm)
610 x 1525 x 1525 cm

PROVENIENCE:
United States

DATE of MATERIAL (Object):
1994

INSURANCE WILL BE MAINTAINED BY MUSEUM BORROWER:
Luna Contemporary Gallery of Edmonton

INSURANCE VALUE (US$)____$650,000_______

HANDLING REQUIREMENTS:
All shipping fees will be covered by the borrower and are expected to use the local
delivery company We Move Ya for the transportation of the art.

INSTALLATION REQUIREMENT:
The installation requires a dark room atmosphere for projection screens to be effective
and to have the full effect of the reflections on the garnet.

PACKING REQUIREMENTS:

42 | P a ge

The projectors will have an accompanied case for protection, the rest of the pieces are
hand packaged. The five granite slabs will have to be individually wrapped in bubble
wrap a laid flat during transportation. The five projection screens will be placed into a
cardboard box of proper dimensions for the transportation and storage.

Credit line:
Luna Contemporary Gallery of Edmonton

The Borrower acknowledges reading and agreeing to the conditions on both sides of
this document.
Signature of Borrowing Institution _________________________________________
Title ____Kristin Watt- Artistic Director_____________________________

Museum Signature ___________________________________________________
Title ____Casie Hauck- Artistic Director___________ Date_______________

MUSEUM COPY/BORROWER'S COPY

43 | P a ge

Floor Plan
Main Floor

44 | P a ge

Top Floor

Project Development

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Project Development

Uploaded by

Copyright:

Available Formats

Kristin Watt

You might also like