Recherche dans la collection - Andrew Danson fonds [graphic material, textual record, sound recording (some electronic)]
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Andrew Danson fonds [graphic material, textual record, sound recording (some electronic)]
Niveau hiérarchique :FondsContexte de cette notice :Fonds comprend :1933 description(s) de niveau inférieurVoir description(s) de niveau inférieur -
Instrument de recherche Sound recordings (Électronique) See MISACS for item-level descriptions.Photographs: (Papier) List of individual subjects and miscellaneous research documentation used during the Face-Kao project including articles, pamphlets, and excerpts from Bob Bossin's book "Settling Clayoquot", in accession file. Biographical notes on portrait subjects located on the reverse side of release forms in accession file.Photographs: (Papier) A series of 19 poems and/or statements written by Andrew Danson, David Fujino, Kevin Irie, Bryce Kanbara, Roy Kiyooka, Joy Kogawa, Nobuo Kubota, Glen Nagano and Takeo Nakano are in the accession file. Also in the accession file is Dr. Masajiro Miyazaki's memoir "My Sixty Years in Canada" (137 pages) and George Takeyasu's recollection "Evacuation, 1942" (25 pages). -
Notice descriptive Andrew Danson fonds [graphic material, textual record, sound recording (some electronic)]
Date :1971- c.2016.Référence :R9081-0-3-EGenre de documents :Documents sonores, Documents photographiques, ArtTrouvé dans :Archives / Collections et fondsNo d'identification :190384Date(s) :1971- c.2016.Lieu :Canada:Lieu de création :CanadaÉtendue :20 audio cassettes (ca. 20 h).
ca. 1068 photographs : b&w and colour contact sheets ; most 8x10 in.
5 prints : offset lithographs, photomechanical reproductions.
ca. 177 photographs : colour transparencies or slides ; most 35 mm.
55 GB (ca. 4220 photographs).
ca. 7613 photographs : b&w and col. negatives ; 35mm.
4 video cassettes : digital
5 cm of textual records.
2 limited edition books
ca. 20 photographs : b&w or col. prints ; 20 in. x 24 in. or larger.
ca. 156 photographs : 16 x 20 in. or larger.
ca. 101 photographs : b&w or col. prints ; 8 x 10 in. or larger.
ca. 44 photographs : b&w or col. prints ; 4 x 6 in. or larger.Langue du document :anglaisLangue du document additionnelle :anglais, japonaisPortée et contenu :Fonds consists of photographs taken and a selection of artwork created by Andrew Danson during his career as a doucmentary photographer, portraitist and artist.
The fonds covers all of Danson's major projects, including Unoffical Portraits, a project and book of self-portraits by key Canadian politicians in the 1980s, and Face Kao, a project and book of portraits of Japanese Canadians interned during World War II that is composed of portraits and oral history interviews of the Japanese Community, mainly Issei (1st generation) and Nissei (2nd generation) as well as some Sansei (3rd generation), now living in Alberta, British Columbia, Manitoba, Ontario, Quebec and Saskatchewan.
The fonds also consists of his Toronto Portraits, and Toronto Portraits Revisited, as well as the large body of work of portraits taken in Newfoundland. Also included are photographs taken in Cuba, China, Tibet, Morocco, Palestine and Israel, East Africa and Central and Eastern Europe, as well as a series of portraits he took in Jamaica. Danson also photographed many well known Canadians, such as authors Margaret Atwood, Bruce Powe, Sylvia Fraser, and artist Joe Mendelson, as well as Oscar Peterson, Denys Arcand, Mary Pratt, Billy Merasty, Salome Bey, Jane Ash Poitras and Denise Fujiwara. His Chassidic Portraits, taken mostly in Toronto in 1997, are a rare documentation of a particular religious community in the midst of their religious practices. Also included are all the photographs and a few interviews he did for Time Sure Not be Long Gone, a documentation of all citizens of the Change Islands, NL. There are also photographic nudes of women taken during a fellowship in Prague, and a large variety of editorial or other documentary work. There is a selection of his photo-based art which generally considered questions about identity, the environment and Canadian and American mass media and consumerism.
Photographic material for the Face Kao project consists of depictions of the following individuals: Joanne Ault, Midge Ayukawa, Ellen Crowe-Swords, John Ichio Deshima, Yuriko Deshima, Nami Doi, Kojiro Ebisuzaki, Yaeko Ebisuzaki, Kikuyo Eto, Shigezo Eto, Rai Fujikawa, Misao Yoneyama Fujiwara, Mitsumori Wesley Fujiwara, Allan Fukushima, Paula Fukushima, Akiko Godo, Moichi Godo, Fumiko Greenaway, Hideichi Hamada, Yoshimaru Hamada, Gene Hamagishi, Terry Hamagishi, Marion Hamaguchi, Sakae Hashimoto, Masao Hayashi, Yosoya Hayashi, Kelvin Higo, Kei Hirano, Hayao Hirota, Kichiro Hirota, Jiro Hisaoka, Roy Honda, Hisako Hoshino, Kiku Ibuki, Mike Idenouye, Yoshiye Ikebuchi, Pauline Inose, Roy Inouye, Seiji Inouye, Tokuko Inouye, Shin Imai, Bill (Hanichi) Ito, and John Ito.
Katsuo Kage, Chie Kamegaya, Bryce Kanbara, Fumiko Kanbara, Tameo Kanbara, Sonoe Kawabata, Iwaichi Kawashiri, Isobel Kimoto, Mary Kimoto, Don Kimura, Yoshi Kinoshita, Ed Kitagawa, Jean Kitagawa, Dave Kitamura, Frank Kitamura, George Kitamura, Masaru Kitamura, Yoshi Kitamura, Roy Kiyooka, Akemi Kobayashi, Kikuzo (Koby) Kobayashi, Kiyoshi Kobayashi, Joy Kogawa, Les Kojima, Fumi Kono, Misayo Kono, Walter Koyanagi, Hide Kubota, Nobuo (Nobby) Kubota, Ai Kurokawa, John Yoshio Madakoro, Peter Maede, Larry Maekawa, Cathy Makihara, Masasai Matsuda, Craig Matsuhara, Marianne Matsuhara, Mayumi Matsuhara, Marcia Matsui, Matt Yoshio Matsui, Nobuko Matsui, Push Matsumiya, Sada Matsumiya, Isamu Sam Matsumoto, Kimiko Matsunaga, Shoichi (Spud) Matsushita, Sumie Matsushita, Tom Mitsunaga, Dentaro Miyamoto.
Mamoru Miyasaki, Yukio Moizumi, Kenzo Mori, Nancy Mori, Senya Mori, Shigeru Mori, Tadashi (Tad) Mori, Haruji (Harry) Morihara, Raymond Moriyama, Marlene Mortensen, Bob Motokado, George Mukai, Roy Muraki, Yuki Nagata, Ayako Nakamura, Dick Nakamura, Frank Nakamura, Lisa Nakamura, Neiko Nakamura, Gordon Nakayama, Robert Nishikawa, Susumi Jim Nishiyama, Dick Nitsui, Kenny Nitsui, Rena Nitsui, Ume Niwatsukino, Tom Nogami, Ken Noma, Ume Nose, Mike Nukina, Mary Obata, Roger Obata, Mike Ochiai, Tsume Ochiai, Chieko Ogawa, uta Ohashi, Norm Oikawa, Aelene Oishi, Yoshiyuki Oishi, Harry Okada, Koichiro Okihiro, Aki Omatani, Emiko Ono, George Osaka, Joe Hayaru Oyama, Sadako Oyama, Shirley Oye, Shiro Oye and Mary Yoshie Rumble.
Ron Sakamoto, Michiko Sakata, Fusako (Flo) Sano, Koharu Sano, Misako Sasaki, Arthur Hitoshi Sato, Nobori Sawada, Yoshio Senda, Naomi Shikaze, Henry Shimizu, Kimiko Shimizu, Kyoshi (Kay) Shimizu, Polly Shimizu, Shigeyoshi Shimizu, Walter Shimozawa, Kuz Shoyama, Tom Shoyama, Ken Soga, Mable Soga, Mas Sunada, Aiko Suzuki, Gayle Swanson, Hannah Tabata, Harry Tabata, Mayu Takasaki, Kuri Takenaka, Fumi Tamagi, Sanya (Tom) Tanaka, Ken Tanouye, Steve Tatemichi, Kimiko Tegami, Yoshiro Tegami, Mas Terakita, Mary Toshiko, Harry Kaname Tsuchiya, George Tsujikawa, George Tsuruda, Roy Uyeda, Komei Uyeyama, Kinu Wakayama, Tamio Wakayama, Terry Watada, Roger Watanaka, Shintaro Yamada, Daiso Yamashiro, Takeo Yamashiro, Mickey Yokome, Kimi Yoshida, and Takeji Yoshimaru.
The Unofficial Portraits project includes, but is not limited to self-portraits by the following individuals: Harvie Andre, John Bosley, Robert Bourassa, Edward Broadbent, John M. Buchanan, Patricia Carney, Jean Chrétien, Sheila Copps, Grant Devine, Jake Epp, John A. Fraser, Donald Getty, Joseph A. Ghiz, Herb Gray, Richard B. Hatfield, Otto Jelinek, Pauline Jewett, Robert P. Kaplan, Stanley Howard Knowles, Roch Lasalle, Flora MacDonald, Marcel Masse, Barbara Jean McDougall, Brian Mulroney, John V. Nunziata, Howard R. Pawley, Alfred Brian Peckford, Tony Penikett, David Peterson, Nelson Riis, Svend J. Robinson, Thomas E. Siddon, Sinclair stevens, John N. Turner, William N. Vander Zalm and Michael Holcombe Wilson.
All photographs are by Andrew Danson.
The fonds also includes a small amount of ephemera from exhibitions, including posters and invitations.Provenance :Biographie/Histoire administrative :Danson, Andrew, 1945-2021 : Andrew Danson (also known as Andrew Danson Danuschevsky) was a nationally and internationally recognzied contemporary portrait and documentary photographer. He was born 12 January 1945 in Bournemouth, England, and died on April 27, 2021 in Inverness Nova Scotia. He was the son of a Canadian soldier and an English war bride. He came to Canada as an infant and grew up in the Toronto suburb of North York, influenced by relatives with interests in fine art and social causes.
He graduated from the University of Guelph in 1967. He is an educator, author and curator, and has exhibited his photographs throughout North America, Europe, South America and China. His photographic works are in the Canadian Museum of Contemporary Photography, the Art Gallery of Ontario, the City of Toronto Archives, the Scottish National Portrait Gallery, the Library of Congress, and the Bibliothéque nationale de France. He has had solo exhibitions at the Regina Art Gallery, the Edmonton Art Gallery, the Nickle Arts Museum, the McCord, the Canadian Museum of Civilisation, the Memorial University Art Gallery, and the Photographers Gallery (Saskatoon), in Canada, and internationally at the Fotogalerie Friedrichschain (Berlin), amongst others. Group exhibitions include Double Take and Beyond Likeness at LAC, the ROM and AGO, as well as Stephen Bulger, Gallery TPW and Harbourfront, the McMichael Gallery ,and at the Acadia University Art Gallery, the Kitchener-Waterloo Art Gallery, as well as the Martin-Gropius-Bau, Berlin, Galeria Valclav Spala, Prague and the Biblioteca Luis Angel Arango, Bogota, amongst others. Danson has taught in the photography programs at Humber College, The Centre for Creative Communications (Toronto) and at NSCAD University (Halifax). He has lectured at the Art Gallery of Ontario, Ryerson University, University of Toronto, Hart House, Emily Carr College of Art & Design, (Vancouver), Vilnius Fine Arts Academy, (Lithuania) and Memorial University in Newfoundland and at the Galerie Vaclav Spala, Prague, Czech Republic. He is the recipient of awards from the Canadian Department of Foreign Affairs, Secretary of State, the Canada Council and the Government of Nova Scotia. He has received several grants from the Canada Council, the Ontario Arts Council and the Newfoundland Arts Council, as well as from the Japanese Canadian Redress Foundation for the Face Kao project. He lectured across Canada and internationally.
Danson began his portraiture work in Toronto, and came to national attention with his bestselling book of self-portraits by key Canadian politicians in the 1980s, Unofficial Portraits. In 1989 he was commissioned by Canadian Art magazine 1989 to create another series of self-portraits by well-known Canadian artists, including Michael Snow, Betty Goodwin, General Idea, Christopher Pratt and Mary Pratt. He has photographed many iconic Canadian authors, including Margaret Atwood, Bruce Powe, Sylvia Fraser, and artist Joe Mendelson. In another commission from TD Bank, Danson used his considerable skill to create portraits of Oscar Peterson, Denys Arcand, Mary Pratt, Billy Merasty, Salome Bey, Jane Ash Poitras and Denise Fujiwara. His Chassidic Portraits, taken mostly in Toronto in 1997, are a rare documentation of a particular religious community in the midst of their religious practices.
As did many Canadian documentary photographers practicing in the 1970s and 1980s, Danson also turned his camera to international pursuits, travelling to Cuba several times, China, Jamaica, Morocco, Palestine and Israel, East Africa and Eastern Europe to provide a uniquely Canadian perspective on the world. This social documentary perspective, brought to the forefront of Canadian photography by the National Film Board in the 1940s, 1950s and 1960s, dominated documentary photography in Canada until the 1990s. Danson's non-Canadian work tends to document the underclasses within these societies, providing extraordinary portraits of poor Jamaicans, street life in Havana as well as in Shanghai and other parts of China and Tibet. His series of Forbidden City portraits provide a window into Danson's sometimes-wry view of 21st century culture. These consist of a set of 'stealth' portraits taken behind the real photographer in this busy tourist zone, providing an intimacy that could not have been achieved if Danson had approached the subjects as a professional photographer. Some of Danson's best foreign work is also personal in nature, documenting the site of a mass slaughter of Jews in Lithuania in the Second World War (Panerai Forest, 1999), and representing the negligence of a Jewish Cemetery in Berlin (Amnesia, 2009).
Danson first visited Newfoundland in the late 1970s, eventually spending summers first in Port de Grave, and most recently in the Change Islands. The decline of the fishery and its way of life, which stood as the foundation of the colony and its communities for centuries, has been especially difficult for small fishing communities such as Port du Grave and the Change Islands. He also lived in Cape Breton from 2016.
The Time Sure Not be Long project involved taking portraits of as many residents as possible on the Change Islands, including schoolchildren, and speaks to Danson's commitment to documenting a way of life that is rapidly disappearing not only in Newfoundland but also across the country.
Danson was an early adopter of digital photography, starting in the early 1990s.
Danson's photo-based art generally seeks to ask questions which pressed on his conscience, including the degradation of the environment (In Her It), and how Canadian and American mass media portray war (Illusions).
His curatorial work included a major installation at the Maritime Museum of the Atlantic for the centenary of the sinking of the Titanic.Information additionnelle :Note générale :Received in 1996 from Andrew Danson of Toronto, Ontario.Note sur le classement :Graphic material (photographs): Arranged alphabetically by name of individual.Note de citation/référence :Photographs: Illustrated in - Face-Kao: Portraits of Japanese Canadians Interned During WWII (1996).Variante du titre :Vedette-matière :Source :Privé -
Pour réserver ou commander des documents Conditions d'accès :Documents sonores[Consultation Ouvert]Documents iconographiques (photo)[Consultation Ouvert]Volume [R9081][Consultation Ouvert]1--35;[Consultation Ouvert]45--48;[Consultation Ouvert]Boîte [1989-152] 55106[Consultation Ouvert]Boîte [DANSON, ANDREW 1997-037][Consultation Ouvert]7449;[Consultation Ouvert]7464;[Consultation Ouvert]C 0579;[Consultation Ouvert]Boîte [DANSON, ANDREW 1992-540] C 0491[Consultation Ouvert]Documents iconographiques (art)[Consultation Ouvert]Boîte [1996-230] 302[Consultation Ouvert]0302 No de pièce attribué par BAC 1--2[Consultation Ouvert]Boîte [DANSON, ANDREW 1997-038][Consultation Ouvert]7449;[Consultation Ouvert]C 0579;[Consultation Ouvert]Documents iconographiques (photo): électroniques[Consultation Fermé pour fins de traitement]Contenant électronique [R9081] R9081[Consultation Fermé pour fins de traitement]Documents iconographiques (photo): électroniques[Consultation Fermé pour fins de traitement]Contenant électronique [R9081] R9081[Consultation Fermé pour fins de traitement]Modalités d'utilisation :Sound recordings Reproduction and use in any form requires the written permission of the copyright holder and donor, Andrew Danson.
Graphic material (photographs): no restrictions on use. Permission must be obtained from Andrew Danson for publication, exhibition, or commercial use. Copyright: Andrew Danson. Credit: Andrew Danson / National Archives of Canada / copy negative number. By agreement, Andrew Danson and his heirs and successors, have the right of annual access upon request to the negatives for printing purposes during the period in which they continue to hold copyright.
Graphic material (art) Prints: no restrictions on use. No commercial reproduction without the authorization of Marie-Josée Crete. Copyright: Marie-Josée Crete, Andrew Danson. Credit: National Archives of Canada. Must be consulted under close supervision for conservation purposes.Vous pouvez réserver des documents à l'avance pour qu'ils soient disponibles lors de votre visite. Vous aurez besoin d'une carte utilisateur pour ce faire.
Vous ne pouvez pas nous rendre visite ? Vous pouvez acheter une reproduction qui vous sera envoyée. Certaines restrictions peuvent s'appliquer.
