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The East York Foundation was originally created in April of 1965 by an Act of the Provincial Legislature. Prior to this, municipal administrators and politicians had worked together to establish a not for profit body to assist in preserving and protecting the cultural assets of East York. This initiative was spearheaded by Reeve True Davidson. The mission of the East York Foundation is; “To contribute to the historical, cultural and recreational enrichment of the people of East York, which encompasses the communities of East York and Leaside”. The East York Foundation is dedicated to the promotion of community institutions, associations and organizations. To help do this, the Foundation assists these groups in fundraising campaigns for both capital and non capital projects. As an Ontario Registered Charity, income tax receipts can be issued by the East York Foundation to qualified donors. The East York Foundation is operated by an elected, volunteer Board of Directors. After more than 50 years, the East York Foundation continues to liaise and work co-operatively with local residents, businesses, institutions and organizations. To find out more about the East York Foundation, and to make donations to it, please contact Gord Piercey. He can be reached at [email protected] or send mail to 850 Coxwell Avenue, East York, Ontario M4C 5R1. The East York Foundation is proud to support the publishing of Alan Redway’s East York 1924-1997: Toronto’s Garden of Eden. This is yet another tangible example of how the East York Foundation meets its mandate and community responsibility, and continues to play a part in the history of East York.
Budget report for 1929/31 deals also with the operations of the fiscal year ended June 30, 1928 and the estimates for the fiscal year ending June 30, 1929.
Geoffrey Taylor and David Heys, over a 25 year period, amassed a huge amount of prehistoric material in flint, jet, stone, glass and metal, gathered mostly off the North York Moors. The present book aims to introduce the collections to the archaeological world and to give the reader a clear impression of their contents.
Report for 1896/1899- are included in the annual report of the Farmer's institutes of the province of Ontario.
Who's Who of Canadian Women is a guide to the most powerfuland innovative women in Canada. Celebrating the talents and achievement of over 3,700 women, Who's Who of Canadian Women includes women from all over Canada, in all fields, including agriculture, academia, law, business, politics, journalism, religion, sports and entertainment. Each biography includes such information as personal data, education, career history, current employment, affiliations, interests and honours. A special comment section reveals personal thoughts, goals, and achievements of the profiled individual. Entries are indexed by employment of affilitation for easy reference. Published every two years, Who's Who of Canadian Women selects its biographees on merit alone. This collection is an essential resource for all those interested in the achievements of Canadian women.
Conceptual Performance explores how the radical visual art that challenged material aesthetics in the 1960s and 1970s tested and extended the limits, character and concept of performance. Conceptual Performance sets out the history, theoretical basis, and character of this genre of work through a wide range of case studies. The volume considers how and why principal modes and agendas in Conceptual art in the 1960s and 1970s necessitated new engagements with performance, as well as expanded notions of theatricality. In doing so, this book reviews and challenges prevailing histories of Conceptual art through critical frameworks of performativity and performance. It also considers how Conceptual art adopted and redefined terms and tropes of theatre and performance: including score, document, embodiment, documentation, relic, remains, and the narrative recuperation of ephemeral work. While showing how performance has been integral to Conceptual art’s critiques of prevailing assumptions about art’s form, purpose, and meaning, this volume also considers the reach and influence of Conceptual performance into recent thinking and practice. This book will be of interest to scholars and students of theatre, performance, contemporary art, and art history.