Admission is free and everyone is welcome!

Carleton University Art Gallery

cuag.carleton.ca

Discount parking passes ($4.00 flat rate) will be available for sale from 6:30 – 7:00 p.m. See the “visiting” page of CUAG’s website for details.

DOUBLE MAJOR is back! Join us for the first installment of the 2013/14 season, where we’ll hear from two passionate experts, each speaking for 20 minutes about their subject, after which there will be a Q&A addressing both topics. One speaker is from the Ottawa-Gatineau community and one is from the Carleton community. DOUBLE MAJOR is a fun and friendly way to stimulate discussion of seemingly disparate topics, and to make new connections between people and ideas. Props encouraged!

DOUBLE MAJOR is brought to you by Carleton University Art Gallery and the Carleton University Alumni Association.

David McGee is a one of the two architects of Lost Ottawa, which is now Ottawa’s largest historical Facebook Community. David grew up in Ottawa, and then completed a BA in History at Carleton and a PH.D in the History of Science and Technology at the University of Toronto. For ten years he worked on a series of historical research projects at MIT in Cambridge, Mass., and at the Max Planck Institute for the History of Science in Berlin. He returned to Ottawa – his city of choice – in 2008 and now works as the Archivist for the Canada Science and Technology Museum. You can find Lost Ottawa on Facebook (https://www.facebook.com/LostOttawa), where anyone can submit historical photographs of the city. From street photography to personal snapshots, this crowd-sourced online archive is a gold mine of urban visual culture, shared memories, and interactive history.

Tim Pychyl is the Director of the Centre for Initiatives in Education and an associate professor in the Department of Psychology at Carleton University. Tim has earned an international reputation for his research on procrastination (procrastination.ca). In addition to his scholarly writing, he writes the popular “Don’t Delay” blog with Psychology Today and produces the iProcrastinate podcast available through iTunes.  He has won numerous teaching awards including a 3M National Teaching Fellowship from the Society for Teaching and Learning in Higher Education, the Ontario Confederation of University Faculty Association’s Teaching Excellence Award, and the University Medal for Distinguished Teaching at Carleton University. Most recently he was recognized with a Faculty of Graduate and Postdoctoral Affairs Faculty Mentor award.

Discount parking passes ($4.00 flat rate) will be available for sale from 6:30 – 7:00 p.m. See the “visiting” page of CUAG’s website for details.

McCarthy poses by Castle Rising.

In completing a Master’s degree, research work often culminates as a very personal endeavour.

After all, graduate students dedicate a significant portion of their lives towards one specific area of focus. Subsequently, many grad students begin viewing their research as an extension of themselves. It is very likely that this phase of a student’s academic journey will have a lifelong imprint.

For Master of Art History student, Meghan McCarthy, her research site holds an added bit of sentimental value. This past spring, McCarthy’s boyfriend proposed to her on their visit to the subject of her Research Essay – Hedingham Castle. 

Fast-forward a few months and McCarthy is now an engaged graduate of Carleton’s Master’s in Art History.

All of this began in 2010 when McCarthy made the decision to return to University after a self-imposed two-year hiatus from academics. Upon completion of her undergrad degree from Western (a Double Honours Major in Art History and Psychology), McCarthy began working as a bartender. It was a nice position for a time; however, after a couple of years, she missed the rigors and trials of life as a university student.  

“I missed using my brain and I missed art history,” said McCarthy. “So, I applied to Carleton’s Masters of Art History program and enrolled in a few courses at Western to boost my average and get recent references. One of those courses was a Romanesque and Gothic course. This is when I fell in love with the Middle Ages.”

Soon after, McCarthy entered the MA Art History program at Carleton.

In her second year enrolled in a Directed Reading with Professor Peter Coffman, McCarthy discovered which subject she wanted to research – English medieval castles. This was one of the many decisions Coffman helped McCarthy make.  Through her entire MA, Coffman functioned as a steadying force for McCarthy.

“Professor Coffman really made my MA experience the amazing journey that it was. He is a perfect example of how a supervisor can help facilitate a positive and rewarding student experience. Professor Coffman is one of the major reasons I chose Carleton based on his expertise in medieval architecture in the first place, and played a tremendous role in my success. The entire department was always so helpful and supportive.”

Coffman introduced McCarthy to distinguished Art History scholar and Anglo-Norman castle expertMalcolm Thurlby. Thurlby teaches at Toronto’s York University, but in a fortunate turn of events for McCarthy’s research, Thurlby accepted a position as Adjunct Professor at Carleton University in 2012.

McCarthy knew she wanted to learn more about the architecture of English medieval castles, but was uncertain about the specific site she should study. After much contemplation, McCarthy made the decision to explore one of Thurlby’s suggestions – the well-preserved, largely unstudied Hedingham Castle of Essex, England. Having Thurlby as a newfound and proximal resource helped her decide to focus her directed reading paper on the protuberant Anglo-Norman great tower, built in approximately 1140.

Hedingham Castle.

In one of the many meetings between Thurlby and McCarthy, Thurlby recommended that she take a visit to Essex to view and study Hedingham in person. As odd as it might sound, this concept had never occurred to McCarthy. Although it seemed like a fantastic opportunity, McCarthy was initially unsure of how she could budget this sort of ambitious peregrination. Thankfully, she had a great team in her corner.

“Malcolm and Peter were my best possible cheerleaders,” explains McCarthy. “Malcolm talked to Dean Osborne (a fellow medievalist) about the potential funding situation, and talked to Peter about switching from the Course Work masters stream to the Research Essay stream so that I could apply for funding and continue my research in the winter term.”

In her Directed Reading paper, McCarthy had been asking important questions about Hedingham, and had already proven her contributions to an unjustifiably parched area of study. There had also been a recently released scholarly article on Hedingham with which she disagreed. With all this in mind, Coffman and the department approved her stream switch.

Soon after, McCarthy applied for funding to go to England, and was successful.

“I was very lucky with how much funding I got – nearly my entire trip was covered! Incredible!”

McCarthy asked her boyfriend, Andrew Paterson, if he wanted to accompany her across the pond, to which she received an enthusiastic, “Yes!”

Paterson is a captain in the military. He served as a platoon commander in Afghanistan, has received a Mention in Dispatches for his work there, and has been working in a reserve unit since returning to Canada. He has recently made the decision to leave the military to begin law school in the fall. 

Paterson had heard so much about Hedingham Castle, and was excited to see it. But more than that, the trip offered him the sublime opportunity to ask the most important question of his life. 

Without realizing the impact her research trip would have on her, McCarthy, along with Paterson, packed their bags and left for England in March of 2013.

McCarthy organized her trip so she could study a variety of Anglo-Norman castles other than Hedingham, including Colchester, Framlingham, Orford, Rochester, Castle Rising, and Norwich.

When they first arrived at Hedingham, McCarthy was relieved to learn how supportive and facilitating the castle’s staff was. She didn’t know it at the time, but this was an even greater relief to Paterson! 

The couple spent two days scrutinizing and photographing as much of Hedingham as possible; a dream come true for McCarthy.

Inside the castle.

A considerable portion of McCarthy’s research revolved around trying to interpret Hedingham’s original interior layout/function. To do this, McCarthy knew that it was necessary to scale the castle’s very high roof; one that is not open to tourists and has no railing to keep you from falling off the edge.

The roof of Hedingham Castle.

The prospect of walking on the roof was frightening, but was a task McCarthy deemed compulsory. On their own, McCarthy and Andrew gained permission and access to the roof through one of the remaining corner turrets.

The risk was one that paid instant dividends. The high vantage point gave the couple a gorgeous view of the English countryside in every direction.  Naturally, McCarthy vigorously began snapping photos. With her face glued to her camera as she staggered haphazardly to capture as many images as she could, McCarthy asked Paterson if they could get a photo of the two of them on the rooftop. The moment that McCarthy turned around, she realized her life was about to change.

“He got down on one knee and said something akin to (I can’t remember the words exactly), ‘for sure we can, but first: Meg, will you marry me?’ As he said it, Paterson had taken a small black box out of his pocket. And as he kneeled, he opened the box…to show me a beautiful diamond ring. The ring that he proposed with was the ring that his grandfather proposed to his grandmother with 70 years ago exactly, in England.”

Having been so submerged in her research trip, McCarthy was completely surprised by the proposal. It was not until Andrew was down on one knee that it hit her that they could not have been placed in a more romantic setting.  

“I was overwhelmed and so thrilled! I had known I wanted to marry him for a while. I said yes instantly. It was the happiest, most perfect moment of my life.”

Having now graduated, and months into her engagement, McCarthy looks back on her previous year with absolute astonishment.

“At the beginning of the school year in September 2012, I would never have dreamed that I would be going to England to study a medieval castle – let alone come back engaged.”

McCarthy & Paterson

What’s next for McCarthy? Based on her love of teaching and TAing, she is currently contemplating a PhD in Art History. In the meantime, she has just accepted a position in the Senate of Canada to work with a team to research and catalogue the art and artifacts of Canada’s Gothic Parliament Buildings.

McCarthy, surrounded by the remains of Framlingham Castle in Suffolk, England.

CUAG is also delighted to launch two new publications. “Leslie Reid: A Darkening Vision” is published in conjunction with Reid’s recent painting retrospective and features an essay by the exhibition’s curator, Diana Nemiroff. “Erin Shirreff” is co-published with Agnes Etherington Centre (Queen’s University, Kingston) and Contemporary Art Gallery (Vancouver) and features texts by Sandra Dyck, Jan Allen, Jenifer Papararo, and Erin Shirreff. We’ll be offering a “launch-night-only” discount on these beautiful new publications.

Admission is free and everyone is welcome. Please see below for information on discount parking.

“Rebecca Belmore | What Is Said and What Is Done”
18 June – 1 September 2013
Curated by Heather Anderson
Presented in partnership with the National Gallery of Canada’s Sakahàn: International Indigenous Art

The Anishinaabe artist Rebecca Belmore is a storyteller who creates a poetic language of images, gestures, and actions. Her beautiful and powerful works examine traumas, injustices, and struggles of Indigenous people – past and present. This exhibition – her first solo exhibition in Ottawa – begins by evoking an historical event, the capture in 1819 of a Beothuk woman named Demasduit at Red Indian Lake, in present-day Newfoundland. Belmore’s video installation “March 5, 1819” conjures the event’s emotional trauma, bringing it into the present, and placing the viewer amidst the projected images as witness and perpetrator. Through such works that personalize history, Belmore responds to the history of contact between Indigenous and European settler populations. Presenting video, sculpture, and photographic works, “What Is Said and What Is Done” reflects upon this history, which has begun a new chapter with the Truth and Reconciliation Commission and Idle No More movement.

“The Past Is Present: Memory and Continuity in the Tyler/Brooks Collection of Inuit Art”
18 June – 11 August 2013
Curated by Anne de Stecher
Presented in partnership with the National Gallery of Canada’s Sakahàn: International Indigenous Art

Priscilla Tyler and Maree Brooks’s passion for Inuit art was ignited during a chance visit to Fairbanks, Alaska, in 1970. Over the following twenty years and many visits to the North, they formed friendships with Inuit artists and storytellers. Dr. Tyler and Ms. Brooks recorded narratives told by storytellers and elders in the western Arctic, and collected prints and sculptures in the eastern Arctic in which artists explored the same themes. Celebrating the 20th anniversary of Priscilla Tyler and Maree Brooks’s gift to CUAG of their collection of Inuit art, “The Past is Present” features prints and sculptures by such artists as Kenojuak Ashevak, Jessie Oonark, Davidialuk, Helen Kalvak, and Luke Anguhadluq. The exhibition reflects the collectors’ holistic vision by presenting these artworks contextualized by audio and textual materials from the oral history archive. It is inspired by the narratives they recorded: accounts of life on the land, the respect for animals on which Inuit depend, and the stories that teach and preserve this knowledge. Today, their collection continues to communicate the importance of art in preserving and transmitting Inuit knowledge and culture.

These exhibitions were made possible with support from Carleton University, the Ontario Arts Council, and the Canada Council for the Arts.

Location and parking:

CUAG is located in the St. Patrick’s building, at the north end of the Carleton University campus. Here is a link to CUAG’s website, with a map and directions.
We sell $4.00 parking passes (a hangtag for your car’s rear-view mirror). Details of this are listed on the “visiting” page of CUAG’s website, below the map.

http://cuag.carleton.ca/index.php/visiting/directions/

The Patrick Cardy Tribute Concert in support of the Patrick Cardy Fund for Studio A will be held at the Carleton University Art Gallery on June 3, 2013. This event is presented by Carleton’s Department of Music and is sponsored by the Carleton University Alumni Association.  All proceeds will go to the Patrick Cardy Fund to support the refurbishment of Studio A in the Department of Music.

During his 30 years at Carleton, Cardy spent countless hours teaching in Loeb A900, a teaching and performance space better known to Carleton music students and faculty as Studio A. According to his family, closest friends and colleagues, nothing would have pleased Cardy more than to know that funds donated in his memory would be used to support music students by restoring and refurbishing Studio A.

The event will feature performers including:

• Julie Nesrallah (mezzo-soprano)
• Roddy Elias (guitar)
• Cathy Baerg (flute)
• Elaine Keillor (piano)
• The Cosmos Saxophone Quartet (Mike Tremblay, Vince Rimbach, René Lavoie and Ian Babb)
• Suren Barry (piano)
• The Lisgar Collegiate String Ensemble (Trudy Bradley, conductor)
• Maghan McPhee (soprano)
• James Wright (piano)

Where: Carleton University Art Gallery
When: Monday, June 3, 2013
7:30 p.m. concert
9:00 p.m. reception
Cost: Tickets are $35 per person (includes concert and light reception with cash bar).
Registration and Program: http://forms.carleton.ca/advancement/patrick-cardy-tribute/

Parking: Pay and Display parking available in Lot 6.  See the campus map.
Online Donations: http://futurefunder.carleton.ca/projects/renovate-music-studio-a-in-tribute-to-patrick-cardy/

The cost to renovate Studio A is $50,000 to 60,000. The Department of Music is a priority for the Faculty of Arts and Social Sciences and the dean has already pledged $30,000 towards renovations. Together with some other available funds, this pledge brings the department more than halfway to its goal.

The department is calling on friends, family and former students of Cardy to help close the gap. They are aiming to raise approximately $20,000 to fully renovate the studio in Cardy’s honour.

For more information, email cu_proud@carleton.ca, or call 1-866-287-7683.

Be it prose or poetry, we at The Coffee Shop Resume are looking for your submissions to be published in our next issue. We are accepting articles, poems, short stories, anything and everything, as long as it is under 1000 words.

Please send your submissions to TheCoffeeShopResume@hotmail.com before March 25 with your author name and contact email.  If you wish for your work to remain anonymous, please indicate so.  We can’t wait to read your work!

The Coffee Shop Resume is produced by first-year students in the ArtsOne cluster, “Writers and Writing in Canada,” taught by Prof. Collett Tracey of the Department of English Language and Literature. We have produced one volume already, with more to come!