text: Glenbow Museum AnnuAl RepoRt 2008-2009 Facts & Figures AttendAnce Website stAtistics General Admissions and Programs General Admissions Member Attendance Highest Weekly Attendance (Week of February 16-22 during Marilyn Monroe: Life as a Legend) ProgrAms 144,442 81,612 9,366 7,813 Total website visitors Average number of website visitors per day Online membership sales and donations Online Archive photography sales *Glenbow used a different website statistic reporting package in the 2008-09 fiscal year which reflects a difference in website visitors from previous years. 476,043* 1,304 $28,984 $56,426 librAry & Archives School Programs Chevron Open Minds Museum School (number of students who participated in programs) Mail/phone/email inquiries In person visits 757 3,670 175 45 52,977 1,793 2,319 86 52 148 1,288 462 16,872 10,620* volunteers 3,701 3,687 Museum School Programs Delivered School Programs Teacher Workshops Attendance Museum School Teacher Workshops Attendance In-House School Programs Attendance In-House School Programs Delivered Outreach School Programs Attendance Outreach School Programs Delivered Distance Learning Programs Museokits Loaned Adult Programs Family Programs Discovery Room Visitors sPeciAl events 200,000+ hours contributed by over 200 volunteers Acquisitions gifts number of donors number of WorKs vAlue Art Indigenous Studies Cultural History Military History Multi-Disciplinary Archives Library Total Gifts PurchAses 64 11 15 1 7 114 60 272 1,123 294 59 1 402 114 200 2,193 $3,105,693 501,710 4,680 200 13,012 68,606 4,265 $3,698,166 "Hosted" Events *(Includes exhibition openings, special bookings, sponsor events and VIP tours.) number of WorKs vAlue tours Art Indigenous Studies Library & Archives Total Purchases 31 2 44 77 $326,130 60,610 387,541 $774,281 Gallery Tours, Behind-the-Scenes and Curatorial Tours Blackfoot & Indigenous Studies Tours Cultural Awareness Training 240 243 64 Contents President's and Chair's Message 2; Glenbow in the Community 5; The Generosity of Our Donors 6; From Donation To Exhibition 7; New Acquisitions At Glenbow 10; Accessing the Collection Anytime 13; New Art Galleries 14; Feature Exhibitions 2008�2009 16; Thank You To Our Supporters 20; Credits 24; Financial Review 25 With over one million artifacts and more than 30,000 works of art, the diverse collections of art, history and world cultures make Glenbow the largest museum in Western Canada. Categorized into seven collections: art, Indigenous studies, cultural history, military history, mineralogy, library and archives, our world-class collections position Glenbow as a leading institution in Canada and beyond. Discover what happens behind-the-scenes to make the collection accessible and relevant. The collections are presented in exhibitions at Glenbow and on loan nationally and internationally. They are a critical tool in our educational programs for connecting the past with today and the future. So much museum work � acquiring and preserving the collections � goes on behind-the-scenes. But this work is critical to ensuring we care for and provide access to the collections for all our visitors in the long term. With most major museums being able to display between only three to five percent of their collections at any given time, the general public has little knowledge of the acquisition and preservation activities that go on behindthe-scenes. Who donates to the museum? What happens when a new piece is donated? What are some of the new and exciting acquisitions? How are we presenting our collections in new ways? Let Glenbow take you behindthe-scenes to discover some of the recent ways in which we grow and care for the collections to ensure we make them accessible and relevant. 1 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM PresiDent's anD Chair's Message Glenbow has experienced siGnificant chanGe this past year. Staffing and leadership changes, changes to our exhibition program and the economic downturn have all had a substantial impact on the organization. In 2007-08, Glenbow's Board of Governors committed to a reinvigorated purpose for all of Glenbow and plans for rebuilding a visual arts program. From December 2007 through to January 2008, Jeffrey Spalding was President and Chief Executive Officer. In January 2009, he resigned his position and the Board of Governors appointed Kirstin Evenden, then Vice President of Access, Collections and Exhibitions, to the role of President and CEO. Glenbow is grateful for Jeffrey's energy and commitment to the institution in the past year, which saw a number of programming changes, more contemporary art and an increase in acquisitions across the collection areas. program, adequate increases in resources did not immediately follow. This, coupled with the change in the world economy, is why we post a record deficit for the organization this year. Glenbow's operating model is somewhat unique for a Canadian museum. The collections are owned by the Province of Alberta and as an independent non-profit organization, Glenbow is contracted by the province to care for and provide access to the collections on behalf of the people of Alberta. Our funding comes from diverse sources. We are grateful for the Province of Alberta's ongoing support to approximately one third of our operations. The rest of the funding includes grants from Calgary Arts Development, the City of Calgary, The Government of Canada and foundations. We also rely on a mix of community support and earned income such as attendance, memberships, individual donors, corporate sponsorships and a very limited withdrawal from the endowments to sustain our operations. Despite our current fiscal challenges, we have not waivered from our commitment to re-invigorate the institution, follow through on a revitalized visual arts program and provide increased access to the collections for all of our visitors. We rely on community support like never A large number of gifts were generously donated by artists and collectors across Canada in response to the institution's commitment to a re-invigorated arts program. The result is an important infusion of contemporary Canadian art and some international before; membership and community involvement for the organization is critical to our success. And we want you to be involved. Tell us your thoughts on how we can continue to evolve and better serve our visitors. We encourage you to continue to support Glenbow through memberships, donations and sponsorships to enable the museum to grow and meet the community's needs. This year was one of transition for the organization. Some in the community say that changes have not come We have not waivered from our commitment to re-invigorate the institution 2 works to the Glenbow art collection. Some of these works are featured in this Annual Report, but look for more exhibitions and initiatives in the future which will showcase this remarkable series of acquisitions. With the rapid change in focus in our exhibition facing page: Kirstin Evenden, President & Chief Executive Officer and Lauchlan J. Currie, Chairman of the Board Glenbow MuseuM | AnnuAl RepoRt 2008-2009 3 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM President's and Chair's Message quickly enough to Glenbow, while others have raised concerns that we have moved away from our tried and true mandate of showcasing "The West". Clearly, the organization is at a crossroads with regard to its purpose. To ensure we do what is best for our stakeholders, the community and the collections we care for, Kirstin Evenden launched an ambitious strategic planning process upon her appointment. This process, which involves the community, Glenbow staff, management, members, volunteers and the Board of Governors, will ensure we bring a renewed focus to the museum's purpose, enhance its relevance as a cultural cornerstone in the city and beyond and provide valuable and relevant programming to the community. It will also set a course for organizational financial stability. To make this happen, we've been meeting with stakeholders, community leaders, donors, members, visitors and non-visitors to hear what the So what does the future for Glenbow look like? Glenbow will play an important role as a cultural leader for Calgary, one that can provide a forum for dialogue about artistic, historical and cultural issues in a way that makes a significant community impact. What does this impact look like? One local artist tells of how his introduction to Glenbow as a child is the very reason why he became an artist. The addition of a Buddhist shrine from the now closed Buddhist church in Raymond, Alberta (the first temple of its kind in southern Alberta) to our Indigenous studies collection means we can provide a touchstone to the community, recalling the exhibitions and learning opportunities and increase the profile of artists from this region so that they can contribute to a national dialogue about our future. We must also plan for the future of all of Glenbow; our collections are as diverse as our audiences. We are a museum, an art gallery, a library and an archives. glenbow will play an important role as a cultural leader for Calgary community needs and expects from Glenbow. Early feedback tells us that we must engage with the communities we serve and ensure we meet their needs; we need to ensure our plans are in sync with emerging trends and address the critical issues of our time. We have a social responsibility to provide access to the collections we maintain but we must do so for a reason. We must provide opportunities for visitors to learn from artists and key thinkers and for our audiences to learn from each other. Through this, Glenbow will be a place that not only preserves history and culture, but actively animates it, so we can enhance cross-cultural understanding and generate opportunities for lifelong learning. The community has ambitions for Glenbow. There are expectations that we will rebuild the visual arts program, make visible changes to the institution, provide more shrine's significance as a cultural and spiritual symbol of the active Japanese Canadian community of southern Alberta. Interaction with meaningful art and objects has resonance with people; we can't underestimate the value of such experiences in our contemporary lives. One of the important facets of rebuilding Glenbow's visual arts program is the recognition that our physical facility requires renovation and expansion. Not only is our existing facility in need of upgrades, but it is clear that Calgary needs Glenbow to step up and develop a new stand-alone facility for the visual arts. In early 2008, Glenbow submitted a proposal to Calgary Arts Development's Arts Spaces Investment Process which outlined a conceptual plan to develop a stand-alone visual arts facility, one which would address Calgary's lack of a civic art gallery, provide adequate space for Glenbow's renowned art collection of some 30,000 works and expand the institution's capacity to bring substantial exhibitions to the city. The process was part of a larger City of Calgary initiative: Reclaiming Calgary's Cultural Identity: Arts Space Strategy and Capital Plan, which was based on supporting research, The Current State of Cultural Spaces for the Arts in Calgary. 4 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 This initiative has demonstrated that the development of a more robust arts infrastructure is vital for the sector, for the future success of Calgary and for the quality of life of our citizens. We couldn't agree more. The process follows a decision by City Council to develop Calgary's cultural spaces through the commitment of five percent of the Municipal Sustainability Initiative Funds ($165 million) for culture related infrastructure. This initiative presents real foresight on behalf of our City's leadership. We were thrilled to hear that Glenbow's conceptual plan for a new building, which asked for $25 million to support capital and endowment monies and the donation of land, was one of several flagship projects included in the Calgary Arts Development's 2008 Arts Space Process Recommendations presented to City Council in November 2008. Glenbow's new Strategic Plan will be launched in late 2009. This plan will address our ambitions and plans for this new stand-alone visual arts facility, our commitment to a renewed visual arts program and our desire to ensure significant and ongoing community relevance for all of Glenbow and its collections. This year will be challenging for us. We need to address our current fiscal situation while still maintaining exhibitions, programs and services for our visitors all while developing our strategic plan for the next five years. The community's support is more important than ever to ensure Glenbow can move forward as a valued and relevant cultural cornerstone in Calgary. We need the community to put their trust in Glenbow by continuing to purchase memberships and support us through donations and sponsorships. Glenbow will continue to do great things under its new leadership and with renewed focus and purpose. We gratefully thank Glenbow's staff and the Board of Governors for their passion and commitment as we move forward. Our vision is to strengthen Glenbow as a serious and engaging cultural institution nationally and internationally. We hope you will join us. gLenBOW in the enBOW COMMUnitY COMMUnitY nit In addition to offering exhibitions and programs at the museum, Glenbow plays a role in the community outside of the museum's four walls. From school outreach programs to public art installations, Glenbow continues to consider ways to enhance cultural awareness and generate opportunities for lifelong learning through arts and culture. Artr ArtreAch In an effort to infuse Alberta classrooms with contemporary art from Canadian artists, Glenbow undertook a new initiative in spring 2009 with the program ArtReach. Developed with the generous support of The Canada Council for the Arts - Art Bank, the ArtReach Contemporary Art Prints Exhibition is comprised of 16 original prints by contemporary Canadian artists that explore contemporary Canadian printmaking. The prints were installed in exhibitions at three secondary schools in Calgary � Queen Elizabeth Junior/Senior High School, Crescent Heights High School and Western Canada High School. During the three week exhibitions, students examined the works up close, referenced Glenbow-developed educational materials that link to Alberta art curriculum and participated in hands-on workshops and programs with Natalie Marsh, Glenbow's school programs coordinator. As the students learned about Canadian printmaking over the past 40 years, they discussed societal changes Kirstin Evenden President & Chief Executive Officer since the 1970s and addressed how the world of art has changed along with us over this time period. In order to understand these changes in art, Glenbow encouraged students to look critically at context, intent and the technological advances in the printmaking medium. Lauchlan J. Currie Chairman of the Board 5 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM MuseuM the generOsitY OF OUr DOnOrs an interview with art collectors and recent donors george hartman and arlene goldman in recent years, Glenbow MuseuM coMMitted to rebuilding its civic and national identity as an art gallery and to take a leading role in the support and creation of visual art. During that time, George Hartman and Arlene Goldman made a major donation of in 2008 in The Big Gift, organized by Glenbow and presented at three public art galleries in Calgary: The Nickle Arts Museum at the University of Calgary, the Illingworth Kerr Gallery at the Alberta College of Art and Design (ACAD) and Glenbow Museum. George Hartman and Arlene Goldman's remarkable collection of contemporary work reflects their commitment to a new generation of artists. Glenbow is grateful for their gift, which will provide visitors, researchers and students with the opportunity to engage with contemporary issues and the recent practice of 6 Canadian contemporary art to Glenbow's collection. Encompassing 42 artists and 117 new works, this donation represents a major injection of art created in the last 15 years and, in conjunction with the rest of our contemporary holdings, positions Glenbow to be part of a national and international dialogue on contemporary art. Many of the works from this donation were exhibited Glenbow MuseuM | AnnuAl RepoRt 2008-2009 artists from Canada and beyond. Their gift to Glenbow is considered to be a model for other private collectors and corporations in Canada. Meet the collectors: An IntervIew wIth GeorGe hArtMAn And Arlene GoldMAn really added to the enjoyment of collecting their work," explains Arlene. "We began reading and researching artists and shortly after acquiring the first few paintings, our interest in collecting contemporary art grew quickly." While their collecting and collection reflects international artists as well as Canadian artists, they focused on contemporary artists because they were able to meet the artists in person. "We're drawn by the fact that we're here now," says Arlene. "It's a much more dynamic experience if you have the opportunity to meet and get to know the artists personally." For George Hartman and Arlene Goldman, collecting has always been a passion. As a young girl, Arlene had thousands of comic books. George, who moved to Canada from Hungary when he was 11 years old, loved sports paraphernalia. At the time they met, George was george hartman and arlene goldman donated 117 works to glenbow, providing a major expansion to glenbow's contemporary Canadian art collection. collecting Canadian antique furniture and china. Over the years together, they amassed other collections � antique televisions, radios, Mennonite and Doukhabor furniture and folk art, but eventually found their true passion: contemporary art. "The first contemporary pieces we acquired were about 10 years ago � paintings by David Urban and Gina Rorai. We got to know both of them personally which Once Arlene and George realized the talent of contemporary Canadian artists within Canada and those living abroad, they realized the larger role they could play to help promote these artists. The role of a dedicated collector can far exceed the financial commitment of acquiring pieces. Some passionate collectors, like George and Arlene, realize the role they can play as advocates and supporters of new artists. Discovering and meeting new artists, getting excited about this newfound talent and promoting these artists is part of the appeal. "When we travelled internationally and monitored the international art market, we observed international collectors acquiring pieces by Canadian artists abroad without knowing the artists were Canadian," says George, "We wanted to express our pride and build awareness about talented Canadian contemporary artists and their inspiring work." FroM donAtIon to exhIbItIon When an artwork or artifact is donated to a museum, it follows an intricate path from the time it leaves the hands of the donor to being placed on display for visitors to enjoy. In 2007, William Perehudoff, a highly regarded Canadian artist, donated his 1981 oil painting AC-81-077. Follow the path this painting took to find its new home in the exhibition, Modernist Art from the Glenbow Collection. The painting begins its journey packaged and shipped by a fine arts shipping company to Calgary in a climatecontrolled truck with special suspension to reduce vibration and driven by a specially trained driver. William Perehudoff, AC-81-077, 1981, Collection of Glenbow Museum 7 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM "We know that one can never be aware of every artist, or every Canadian artist, but we hope that through our interest, we can help build momentum for the exciting new careers of these young, talented artists. We love finding new artists and bringing them to the attention of dealers and galleries � it's great fun particularly as your relationship grows with the artist." Today, to the trained art savvy eye, their collection has a natural evolution. Others have seen themes in the generosity Of Our Donors FroM donAtIon to exhIbItIon 1� AC-81-077 arrives at Glenbow's loading dock and is moved into Pest Control where the exterior infestation (those that do take a trip into the co2 unit 2� The painting goes to art technicians and conservators complete a condition report and begin creating a record in Glenbow's database. Ray Jense and Ray Laniel from the production team move the crate from the loading dock into Pest Control. or our walk-in freezer). art storage where the 8 packaging is examined for any signs of damage. If a work of art or artifact is shipped in a wooden crate, it is unpacked and examined to ensure it shows no sign of pest Glenbow MuseuM | AnnuAl RepoRt 2008-2009 their collection, but George and Arlene have always collected what they like and are interested in as opposed to choosing a theme and sticking to it. Their collecting practice leads Arlene and George to offer some sound advice for would-be collectors. "An education in art is so much more accessible today with the Internet. When you begin collecting, and as you continue to collect, you have to spend a lot of time reading and researching artists and their work," explains Arlene. "And this is much easier today with online resources, which has opened up the art world and it seems much less intimidating. Visit galleries private and public, visit museums, attend presentations and listen to the great speaker series held at museums. Get a taste of what you like. But then try to get out and meet artists and get to know them." "Remember you don't need to be rich to collect," adds George. "Buy or collect what you like. Everyone else will have an opinion but believe in what appeals to you. Allow yourself to grow with the collection � you'll get better. The achievement is to appreciate and understand the works as you collect them. You can change with the collection." Arlene and George show no signs in slowing down their collecting. They continue to be inspired and it is part of their life now as George explains. "Art is beautiful. It captures you and it's very hard to let go once you're in that world. It's such a nice complement to everything we do. We read the arts section first. We look for art "In the last year or two, we've spent a lot of time with new artists. Through meeting and speaking with artists, you realize there's a whole other world out there as you listen to and begin to understand the artists' perspectives of the world around you. It's fascinating." George adds, "And there are great parties in the art world � artists, dealers and museums throw the best parties. You're welcome even if you don't wear your business suit. You can be different and it's welcome!" news online and we look forward to when the next issue of an art magazine comes out. It hooks you." George Hartman and Arlene Goldman in Toronto in August 2009 3� The painting is approved by Glenbow's senior management and submitted for approval to the Acquisitions Committee, a combination of staff and community advisors. The work is accompanied by a curator's report explaining how it fits into our collection mandate, why it's important and how we might be able to exhibit the work. Claude Belleau, painting conservator, examines AC-81-077 4� Once approved by both Glenbow's Acquisition Committee and the Collections and Access Committee, a combination of senior staff, community members and members of the board, AC-81-077 is officially accepted into the collection and William Perehudoff, the artist who is also the donor, is issued a tax receipt. AnnuAl RepoRt 2008-2009 | Glenbow MuseuM 9 neW aCqUisitiOns W at gLenBOW IndIGenous studIes In 2008, Glenbow acquired two large sculptural works by acclaimed Haida artist Michael Nicoll Yahgulanaas, known for his distinctive visual style which blends Indigenous art traditions with the popular style of Asian graphic novels. The first work, a large shield entitled Stolen But Recovered is built out of recycled car hoods and covered with gleaming copper leaf. The second work, Pedal to the Meddle (pictured right), is a Pontiac Firefly which has been covered in a mixture of black paint and argillite dust, essentially turning it into a large argillite sculpture. Both of these works, which are part of Glenbow's Indigenous studies and art collections, will be featured in the upcoming Michael Nicoll Yahgulanaas exhibition in fall 2009. FroM donAtIon to exhIbItIon A At 5� The art curator continues researching the artist and the artwork and records detailed information. considered as significant 7� The Canadian Cultural Canadian cultural property. Property Export Review Board approves the work as significant Canadian property. Canadian Cu Export Review 10 6� Due to the significance of the piece, Glenbow submits the painting for certification by the Canadian Cultural Property Export Review Board of the Department of Canadian Heritage to be ltural Prope Board rty Monique Westra, art curator, examines AC-81-077 in art storage area Glenbow MuseuM | AnnuAl RepoRt 2008-2009 MIlItAry hIstory collectIon the sAM steele collectIon In partnership with the University of Alberta Library, Glenbow repatriated the Sir Sam Steele Collection from London, England, to Alberta. The artifacts, including Steele's incredible medals and clothing, are now at Glenbow, and the archival materials are in Edmonton. The collection has been shown behind-the-scenes to scholars, historians, the RCMP, the Lord Strathcona's Horse (Royal Canadians), collectors, museums (local, regional and national), and the general public who were thrilled to see the collection that represents nineteenth century Canada's most famous military man � Sam Steele. Glenbow showcased the medals from this collection in an exhibition, Jewels of the Jacket, this past year. The collection will be featured in the fall of 2012 when Glenbow develops and presents Canada's first major exhibition on Sir Samuel Benfield Steele. lIbrAry In October 2008, the Glenbow Library acquired the Ladwig collection of directories which added over 75 directories to Glenbow's holdings. This significant collection was compiled by Sandra Ladwig of Red Deer who did genealogical research for private clients for many years and, in the process, acquired a huge collection of city directories from cities across Canada. Researchers who come to Glenbow make heavy use of directories such as these. Genealogists like them because the listings include more information than telephone books, such as occupation and spouse's names. Site, building and business researchers use these city directories because addresses are listed separately so you don't need to know who owned or occupied a building to trace its history. Business entries in the directories often include the names of owners and executives. This collection was a great addition and supplemented Glenbow's existing collection with historical information on many smaller western centres. 8� The curator integrates the work into the narrative of the new Modernist exhibition and works with the designer and production teams to situate AC-81-077 9� In March 2009, AC-81-077 is featured in the exhibition, Modernist Art from the Glenbow Collection. on the gallery wall. if you think you have a museum-quality piece to donate, visit www.glenbow.org/ involved/donations 11 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM culturAl hIstory collectIon Collecting artifacts and archives relating to the ranching frontier in southern Alberta has always been a priority for Glenbow. Early in our history, archivist Sheilagh Jameson, the daughter of pioneer ranchers, began to amass a top-notch collection of personal papers, ranch records, artifacts and agricultural association files dealing with the early years of the cattle industry. Doug Cass, director of Library and Archives and Lorain Lounsberry, senior curator of cultural history, enlisted the help of community advisors to expand our post-depression holdings. After three years of meetings, tours of historic ranches and connecting with a number of pioneer families, Glenbow has received several important donations to the cultural history and archival collections, including the records of the Cross family ranches, the Waldron Grazing Cooperative, and the Towers & Wearmouth ranches. The donations also include artifacts from contemporary rancher Lenore McLean and historic trick rope performer and dude ranch operator Flores LaDue (Mrs. Guy Weadick) whose riding skirt is pictured at right. ArchIves Anyone looking for information on what was new and important to Calgarians, in the 1960s and 70s will want to review the Archives' recent acquisition of the Linda and Dick Curtis Fonds. Linda Curtis, a well-known journalist in Calgary, had a long career with The Albertan newspaper as a reporter and columnist. Born in Calgary in 1920 and raised in Didsbury, she moved in 1939 to Ontario where she began a writing career with CBC Radio and as a freelance writer for Maclean's and other magazines. Linda Curtis was one of the few women journalists of her time who escaped writing solely for the "women's pages" and wrote her own column in The Albertan from 1966 to 1979 which covered human interest stories about local people and events. In 1982, Linda Curtis began writing for the Calgary Herald and retired in 1991. Donated in 2008 by 12 Linda Berreth, Linda Curtis` niece, the collection consists of Linda's extensive writings (articles, columns and scripts) produced for magazines, newspapers and radio (1943-1984) and a complete new acquisitions at glenbow Glenbow MuseuM | AnnuAl RepoRt 2008-2009 set of her columns covering a wide range of topics including abortion, EXPO '67, music, restaurants, sports and even the Glenbow. aCCessing the COLLeCtiOn anYtiMe In early 2009 Glenbow Museum launched two new art websites, Artpad: A Collection. A Connection. (www.glenbow.org/artpad) and Impress: Prints, Artists and Ideas (www.glenbow.org/impress). Although both were created for high school and post-secondary students respectively, the remarkable content of these two bilingual sites has proven to be of interest to art lovers, researchers, dealers and anyone curious about art from around the world. ArtpAd: A collectIon. A connectIon. www.glenbow.org/artpad IMpress: prInts, ArtIsts And IdeAs www.glenbow.org/impress artist, a conservator, a curator and an art dealer. The responses from each `player' demonstrate the various ways one can see and appreciate art." Designed to be a powerful research tool for postsecondary art students, Impress offers visitors an in-depth view of a specific art medium that has deep roots in this province: printmaking. This website contains a visual and informative database which includes 1,903 prints, more than 400 print-related materials such as print blocks, newspaper clippings, photographs and sketches, as well as 147 audio and video clips of artist interviews. Developing these two websites required significant resources, but as Johanna Plant, curator for Impress explains, the results were well worth it. "As is the case in most museums and galleries, the physical space we have to show our collection is far exceeded by the size of the collection; even with frequently changing shows, we are unable to show all the amazing works we hold. By digitizing a significant number of artworks and making them available online, visitors from around the world can have access to the collection." Artpad takes a fresh approach to looking at and engaging with contemporary art from a regional and national perspective through 55 artworks from Glenbow's extensive contemporary art collection. Instead of starting the experience with the usual collection search, visitors can view the art in the context of a dynamic historical timeline, learn more about the creative process through featured artist interviews, or put their artistic skills to the test by creating an art installation. Artpad curator Quyen Hoang's favourite feature on the website is The Players. "Through audio interviews, this section examines in detail five works of art from the perspectives of four `players' in the art field � the 13 Screen captures of Glenbow`s Impress and Artpad websites AnnuAl RepoRt 2008-2009 | Glenbow MuseuM neW art gaLLeries Glenbow boasts the largest and most comprehensive art collection in the province and one of the most extensive in Western Canada. In spring 2009, Glenbow opened two new art galleries on the second floor - Historical and Modernist Art from the Glenbow Collection curated by Monique Westra and designed by Stephen Dundas Smith. Between the two galleries there are 165 works of art from our collection now on display. These two galleries, presented side by side, offer a bridge between Canada's early art history and the present. hIstorIcAl Art FroM the Glenbow collectIon Featuring 75 works of art drawn entirely from Glenbow's art collection, this gallery represents the first time in 15 years that such a sizable and representative selection has been displayed. Ranging from the eighteenth century to the early twentieth century, the works of art are organized into broad thematic areas: portraits, landscape, wildlife, First Nations and the fur trade. Each grouping comprises several artists, setting up intriguing juxtapositions of style, size and interpretation. Among the famous artists represented here are the icons of western art, Charlie Russell and Frederic Remington, and the 14 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 most celebrated wildlife artist in history, Carl Rungius, a favourite of Glenbow founder Eric Harvie who amassed the core of the historical collection � one that has grown substantially over the years through purchases and through the generosity of donors. ModernIst Art FroM the Glenbow collectIon this gallery reflects these varied approaches. In order to highlight the diversity of styles and approaches of modernist artists in Canada, this exhibition is organized thematically rather than chronologically, regionally or by artistic groups. Modernism is diverse and such an exhibition approach provides visitors an overview of the many ways in which artists worked both regionally and nationally during this period. 15 Reflecting works from the modernist era from the early twentieth century up to 1980, this exciting gallery features 90 works of art in styles which range from realism to abstraction. In Canada as elsewhere, modernism took many diverse forms and served different purposes; AnnuAl RepoRt 2008-2009 | Glenbow MuseuM FeatUre exhiBitiOns 2008-2009 outstanding historical artifacts. Webber's photographs represent a nine-year project documenting the moving, resettlement and rebuilding of the Little Bow Colony in southern Alberta. It is the most comprehensive and in-depth record of its type created on any Canadian Hutterite colony. The simple, hand-crafted artifacts � powerful evidence of the group's plain, disciplined traditions � eloquently illustrated the Hutterite values of spirituality, discipline and simplicity documented in Joe FAFArd March 14, 2009 � May 31, 2009 Organized by the MacKenzie Art Gallery and the National Gallery of Canada Joe Fafard, an acclaimed Canadian artist based in Saskatchewan, is best known for his uncannily realistic and whimsical small portraits in clay of family, friends, artists and politicians and for his wonderful large-scale cows and horses in steel and bronze. Fafard's works in this retrospective exhibition ranged from very early work to large public commissions, from caricatures to portraits, from traditional to experimental and from miniature to monumental. Unifying such diverse aspects of our society as urban and rural, French and English, east and west, elite and popular, Fafard's work addresses community life with great universal appeal. Webber's photographs. MArIlyn Monroe: lIFe As A leGend November 29, 2008 � February 22, 2009 Curated by Artoma, Hamburg, Germany and toured by International Arts & Artists, Washington, DC. This exciting exhibition brought together hundreds of images inspired by one of the most famous women of the twentieth century. It included photographs of Marilyn Monroe in poses which have become iconic images of our time as well as many candid shots of the famous actress and singer from her days as Norma Jeane to the heyday of her spectacular fame as Marilyn Monroe, sex symbol and international sensation. The contemporary art in this exhibition explored her image and its relationship to pop art and pop culture in photo-based 16 hutterIte trAdItIons, photoGrAphs by GeorGe webber art, multimedia works, paintings, sculptures and collages. February 14, 2009 � April 13, 2009 Visitors were provided with a glimpse inside the private world of Alberta's Hutterites through George Webber's prize-winning photographs and Glenbow's Glenbow MuseuM | AnnuAl RepoRt 2008-2009 oF chrIstMAs pAst portrAIt oF An ArtIst November 21, 2008 � January 4, 2009 Glenbow reached deep into its collection and created a delightful holiday exhibition highlighting seasonal treasures including joyous Christmas music, whimsical ornaments for the tree, essential things for the kitchen and table and, of course, gifts. October 16, 2008 � February 8, 2009 This contemporary art exhibition featured new acquisitions to Glenbow's collection by artists Ron Moppett, Micah Lexier, Tom Hopkins, Chris Flodberg, Sarah Holtom and Jennifer Stead. Examining the concepts of portraiture and self-identity, the exhibition featured portraits of artists in a traditional style but also "portraits" of the artists' studios and work spaces in both real and imagined ways. These works reflected a dynamic community of artists and encouraged visitors to consider the whole notion of self-identity. Jewels oF the JAcket: MedAls oF sIr sAM steele October 17, 2008 � January 12, 2009 As a prelude to a comprehensive 2012 exhibition on Sam Steele, one of Canada's most famous military men of the nineteenth century, this exhibition featured his incredible grouping of medals now in Glenbow's collection � jewels that summarize his amazing military career. In the thick of the action for almost 50 years, Steele helped make history in Western Canada from 1870-1918. A fearless North-West Mounted Police officer, Steele became a role model for the Mounted Police and for Canadian soldiers. throuGh the lookInG GlAss September 26, 2008 � November 16, 2008 This exhibition took a close look at the altered world of dream spaces and reversals. Curated by Glenbow's former President and CEO Jeffrey Spalding, this exhibition drew connections to the playful, poetic themes of the Lewis Carroll classic of the same name. It featured regional, national and international artists and a mix of Glenbow collections and significant loans. 17 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM Feature exhibitions 2008-2009 the pArAdIse InstItute by JAnet cArdIFF And GeorGe bures MIller September 26, 2008 � November 16, 2008 Organized and circulated by the National Gallery of Canada The Paradise Institute, by world-renowned Alberta sound and visual artists Janet Cardiff and George Bures Milller, created a new artistic format located between two disciplines, a hybrid genre borrowing from installation, video projection, audio, sculpture and performance; where artists effectively function as movie directors, screenwriters, composers and radio play producers. the bIG GIFt June 6, 2008 � September 27, 2008 The Big Gift, a collaborative, three-venue exhibition at the Glenbow Museum, the Alberta College of Art and Design's Illingworth Kerr Gallery and the University of Calgary's Nickle Arts Museum, showcased the significant works of art donated to Glenbow Museum during Jeffrey Spalding's time as President and CEO. The over 600 works ranged from video installation to paintings, photographs and sculptures. reweAvInG A lIFe sI08: Art+desIGn February 22, 2008 � September 28, 2008 Reweaving a Life portrayed the daily reality of the Nahua women of Tlamacazapa, Mexico, who live in acute poverty and who are caught in a complex web of social disintegration, environmental toxicity and water shortage. In Tlamacazapa, life revolves around basket-making, a traditional art that provides their basic income. A group of nine Nahua women opened their hearts and their homes to artists who produced a series of paintings, each portraying aspects of their lives and the coming social changes enabling a strong and courageous group of Indigenous women to place increased value on their work and on themselves as individuals. June 25, 2008 � August 17, 2008 Sled Island Music Festival, an annual four-day, multivenue festival, showcasing a wide variety of emerging and established musical talent, included a visual arts component to their 2008 program and occupied a number of downtown spaces. The Glenbow portion, organized by former senior art curator at Glenbow, Mary-Beth Laviolette and curated by Wayne Baerwaldt, director/curator of exhibitions at the Illingworth Kerr Gallery of the Alberta College of Art and Design, presented a wide range of innovative young artists and cultural producers to examine how a new generation reads and bridges new art with ideas of the past. Glenbow MuseuM | AnnuAl RepoRt 2008-2009 18 to respond to Glenbow's collections. The artists were actively engaged in the exhibition's development and had the opportunity to respond to relevant issues in the community such as the legacy of colonialism, stereotypes and misconceptions about Aboriginal artifacts and the "authenticity" of history. Their work makes room for other kinds of histories and identities to come forward in a dialogue about contemporary Aboriginal identity. honourInG trAdItIon: reFrAMInG nAtIve Art February 16, 2008 � July 13, 2008 Honouring Tradition: Reframing Native Art marked the first time in Glenbow's history in which the ethnographic and art collections were shown side-by-side and challenged views that define historical art traditions as separate from contemporary Aboriginal art. The exhibition, which included substantial loans of works from important contemporary artists and cultural producers, invited visitors to experience rich artistic traditions of the Native peoples from the Northern Plains and Subarctic regions. Over 200 colourful objects such as shirts, moccasins, baskets, story robes, sculptures, photographs, paintings and mixed media works were featured. Aboriginal art from the late 1800s through to the present was merged to honour the importance of community, the connection to land and place and the tradition of storytelling. dreAM: A tAle oF wonder, wIsdoM & wIshes August 18, 2007 to July 6, 2008 Dream: A Tale of Wonder, Wisdom & Wishes, featured the original artwork of 15 top children's illustrators from five countries, including Governor General Award winner Barbara Reid and two-time Caldecott Medal winners Leo and Diane Dillon. With watercolour, collage, digital and plasticine pieces, the exhibition was based on the award-winning bestselling book Dream by Susan V. Bosak which tells a multi-layered, poetic story about hopes and dreams across a lifetime. 19 trAcInG hIstory: presentInG the unpresentAble February 16, 2008 � June 22, 2008 Tracing History: Presenting the Unpresentable invited four contemporary Aboriginal artists: Tanya Harnett, Faye HeavyShield, Terrance Houle and Adrian Stimson, AnnuAl RepoRt 2008-2009 | Glenbow MuseuM thanks tO OUr sUPPOrters Glenbow Museum relies on community participation to achieve excellence in its exhibitions, programs, events and services. We receive meaningful support from our members, donors, volunteers and other partners. Glenbow is pleased to acknowledge the significant contributions made by the following supporters for the period from April 1, 2008 to March 31, 2009. $100,000 and Above Canada Council for the Arts Canadian Heritage Information Network Richard Corso Cheryl Gottselig and Yves Tr�panier Pnina Granirer Eric Hansen Alain Lamoureux Angela Nielsen Judith Nolte Robert and Susan Scott Rebecca Sisler Jay Sujir Ralph Tieleman Total E&P Canada Ltd. Virginia Christopher Galleries Ltd. $10,000 - $24,999 Patrick Lundeen David MacWilliam Masters Gallery Ltd. New Sun Fund at the Calgary Foundation David and Gail O'Brien O'Connors Mens and Womens Clothing and Footwear Olympia Trust Company Marc Ostiguy Zakary Pashak Peters & Co. Limited Richard Prince Jill Rawlinson Joan Snyder Suncor Energy Foundation THEANON Charitable Foundation Tristone Capital Inc. Peter von Tiesenhausen Karen Wilkin Linda and Clayton Woitas $5,000 - $9,999 Evelyn Aimis Eric Berthold City of Calgary and Calgary Arts Development Authority Canadian Heritage Museums Assistance Program Canadian Pacific Railway ConocoPhillips Canada Gerald Ferguson George Hartman and Arlene Goldman Dr. Leslie Kawamura Leon Liffman Nexen Inc. John Purdy Tony Scherman Orest Semchishen Miriam Shiell Takao Tanabe Doug Udell $50,000 - $99,999 Jack and Maryon Adelaar Alexander Rothney (Sandy) Cross Fund at the Calgary Foundation ARCIS George and Colleen Bezaire Bumper Development Corp. Ltd. Canadian Art Galleries Ltd. Mr. and Ms. Gord Case Lauchlan and Karen Currie Joanne Cuthbertson and Charlie Fischer Enbridge Inc. John Francis Guy Gagnon Galleon Energy Inc. Great-West Life Assurance Company James and Susan Hill Imperial Oil Foundation Allan and Annette Kolinsky Ron Kostyniuk Michael and Madelyn Lang Marie Lannoo ARC Resources Ltd. Canadian Heritage Canadian Culture Online Program Chevron Canada Resources Estate of Mary Elizabeth Isserstedt John Hartman Newzones Gallery of Contemporary Art John Noestheden Roberto Lorenzetto Catherine Ross Alberta Clipper Energy David and Leslie Bissett Camcor Partners Inc. Canada Council Art Bank Judy Chartrand Paul Colbourne Owen Curnoe Devonian Foundation EnCana Corporation Chris Flodberg Griffiths McBurney and Partners Bradley Harms Glenda Hess Mary M. Hetherington Harley and Rebecca Hotchkiss Stephen Hutchings Jack Jeffrey Monica Kohlhammer 20 Tr�panierBaer Gallery Inc. $25,000 - $49,999 Alberta Foundation for the Arts Alberta Museums Association Guy Amireault ARC Financial Corporation Ian and Heather Bourne Glenbow MuseuM | AnnuAl RepoRt 2008-2009 William Laing Birch Libralto Bill and Corinne Macdonald Macleod Dixon LLP Mrs. Alexandra McMeekin Barbara McMorland Osler Hoskin Harcourt LLP Painted Pony Petroleum Ltd. Graeme Patterson Ingrid Mary Percy Robert Proudfoot RBC Foundation Maria Rees Edward Schwartz Richard and Mary Shaw Jacqui F.C. Shumiatcher Paul Sloggett Heather and Herb Snowdon Adrian Stimson The Institute For Modern and Contemporary Art Ronald and Dawn Thrasher $2,500 - $4,999 Lawrence W. West Family at the Private Giving Foundation Steve and Carolyn Soules Bob and Pat Steele The Kahanoff Foundation University of Lethbridge $1,000 - $2,499 Verna Jean Fairbrass Federation of Calgary Communities FirstEnergy Capital Corp. Greg Forrest and Margo Helper Frederick and Heather Gallagher Pat Gibson Timothy and Elaine Godfrey Wanda Godwin Alison Griffiths David R. Haigh Q.C. Jim Hall Timothy Hamilton Robin Harvie Susan Healy Heenan Blaikie LLP Dr. John R. Hemstock Barb Higgins Brian Hook Donna and Greg Horton Terrance Houle Imperial Oil Limited Ryan Kalt Herbert M. and Patti-Anne Kay James and Shelley Keough Martin Keeley Betty Lander James and Helen Laycraft Robert and Tanis Lefroy Nancy Lever Longbow Capital Inc. Letha MacLachlan Lloyd and Tracy Maybaum Kimowan McLain Rod McDaniel Jean and Rod McKay Lenore McLean James and Dorothy McLeod Midnight Oil and Gas Ltd. Ministry of Culture and Community Spirit Milestone Exploration Inc. Dr. Marcy Mintz and Dr. Rob Harrop Janis and Bruce Morrison Robert and Margaret Montgomery Peter Mortimer-Rae Shaun Murphy Ted and Margaret Newell Eva Newman Gwen Northam Carolyne Kauser Abbott and Andrew Abbott Aduro Resources Ltd. Alberta Chapter, Germans from Russia Heritage Society Brenda Andrews Elizabeth and Bob Andrews Kevin and Karen Angus Kenneth and Bernice Baher Barbara J. Baker Mary Barr and Jim Allard Mr. and Mrs. Edward G. Battle Hazel Bennett Best of Bridge Publishing Ltd. Blake, Cassels and Graydon LLP Devon Blean Bountiful Resources Inc. Bow Valley Energy Inc. Peter Boyd and Janet Slade Brawn Foundation Michele Nowak and Lloyd Buchanan Bumper Foundation Bruce Burns Calgary Exhibition and Stampede Calgary Foundation Calgary Zoo Don and Marlene Campbell Earl Campbell Bruno Canadien John Cardiff and Linda Hall Ziva and Noah Cohen Anne Crawford Crocotta Energy Inc. David Cruise Morris and Ann Dancyger William Davis D. Michael Dobbin Art and Bonnie Dumont Dr. Glen E. Edwards Ember Resources Inc. Estate of H.G. Glyde Estate of Joyce Christina Oliver Douglas Udell Gallery Altia Energy Ltd. Ruth Barker Linda Berreth Bill & Jean Toole Family Donor Advised Fund at the Calgary Foundation Calgary Mineral Exploration Group Sean Caulfield Consulate of the United States of America Roger Crait Daylight Energy Ltd. Estate of Dennis Wagner Estate of Ed Johnston Herringer Kiss Gallery Brian Lavergne George Littlechild Lorne Carson Pofessional Corporation MacEwan Family Charity Fund at the Calgary Foundation F. Richard Matthews Morna Murray Pirie Foundation 21 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM thanks to our supporters Stuart and Martha O'Connor Orleans Energy Ltd. Marilyn Palmer James Pasieka Rob and Ruth Peters and Family Rita and Glen Popowich Profound Energy Inc. Robert and Sharon Quinn Dr. Michael and Mrs. Catherine Robinson Vera A. Ross Bruce Schultz & Jayne Takahaski Rose Scollard Seven Generations Energy Ltd. Len and Phyllis Shapiro Mr. Ramsis Shehata and Mrs. Martina Shehata David and Marion Shill Brian R. Sinclair Donald B. Smith St. Andrew-Caledonian Society of Calgary Sheldon Steeves Sharon Stevens Michael and Caron Stewart Temple Energy Inc. Michael J. and Renae N. Tims TransCanada PipeLines Limited Louise M. Travis United Mine Workers of America, Western Canada Terry Vandenbrun Christine Vernon-Wood Waldron Grazing Cooperative Dr. Klaus W. Westphal Tom Willock Rob Zakresky Berens Energy Ltd. Roy J. Bily Nancy Blair Bernice Bray Reid Brodylo and Carri Clarke William G. Buchanan Calgary and District Labour Council Calgary Fish and Game Association Canadian Honey Council Vicki Cass Bill Chester Chinook Country Historical Society Sandra Clark David and Gay Claydon Jay and Lucy Cross John F. Crossley Evelyn de Mille Decidedly Jazz Danceworks Ned Downey Drumheller Public Library Edmond and Maureen Eberts Jos and Margaretha Eggermont Una MacLean Evans Kirstin Evenden Mo Fazil and Joanne Jenkins Geraldine Fish Robert and Margaret Fraleigh Galleries West Magazine GCS Resources Management Ltd. Janice Gogal-Foster Linda Gorman John Grant Glynis Grigg Rick and Margaret Harrop Beverley Hrenewich and Gloria Filyk Joanne Hawkes Thelma Horte Brian and Barbara Howes John Ingram Carrol Jaques Ian and Julie Jones Sheila Kelly and Scott Montgomery Ms. M.G. Eaton and Mr. Kim Kertland Gerald and Mary Janet Knowlton Phyllis Konrad Nick Kontros Sandra Ladwig Laricina Energy Ltd. Livingston Energy Ltd. Peter and Jeanne Lougheed James F.N. and Brenda Mackie Ms. Una Maclean Evans Anne McCaig Irene Morgan Robert Newell Olive Nicholas Hubert M. J. Nijssen Mary Perks Maureen Poscente David and Drue Robinson Michael Robinson and Lynn Webster John and Donna Rooney Harry and Joanne Schaefer John Schmidt Smithbuilt Hats Society for Technical Communications, Alberta Chapter Margaret and Ronald Southern Muriel Stewart Stephen and Barbara Stretch Donald and Arleen Thompson William and June Tye United Way of Calgary and Area Josepha Vanderstoop and Russ Forrester Anne and Paul Wanklyn Edith Wearmouth Lela Wilson Lorne Woodrow $250 - $499 22 $500 - $999 Alberta Registered Dietitian's Association Barry R. Aldred Fraser Balfour Diana and David Ballard Charles Barlow Joyce Arnold Mowry Baden G. Allan Baker Beulah and David Barss Margaret Bawden Robert Brewster Glenbow MuseuM | AnnuAl RepoRt 2008-2009 Dane and Leonora Bridge George Brookman H.A. (Sandy) Bruce Eleanor Bryan Larry Buchan Canadian Oil Scouts Association Virginia Capen Clayton and Norma Carroll Doug and Vicki Cass John and Ann Casson Marc Charest Barbara and Don Christensen Diane and Alvin Clark John Earle Clark and Carol A. Ruzycki Katherine Clarke Yanka and Robert Cochrane Dr. Martha Cohen Susan Cowan Brendan E. Cryan Thomas and Mary Cumming V.A. Cuthbertson Chris Davis Walter and Irene DeBoni Betty and Edward Earle Robert Elias Dale Ellert and Barbara Snowdon Estate of Anna Nowick Robert and Norma Farquharson Food Safety Information Society Ron and Aileen Freeman Richard and Susan Galloway John and Ethelene Gareau David Garneau Fran Geitzler G M Bain Real Estate Services Ltd. C.R. and Eleanor Guest Allison Matthews Hankins Patricia and Mike Hantzsch Doug Hawkes Michael Hawley Brian G. Holmes Fraser and Michele Horne Marion Jensen Rhoda Johnson Yvone Kee John and Maria Kimber Karen Konrad Lorne and Patricia Larson A. Ronald and Barbara Law Patricia Lee Lidia Lemay Jean Leslie Douglas and Nancy Long Donald and Doreen Lougheed Dr. E.W. Paul Luxford Colin and Margaret MacDonald Joan MacMillan Helen Maglis Anitra Mamen Neil and Fiona Mattatall Leota McAlpin Norman McDonald and Kathy Smith Michael and Barbara Morin Ruth B. Mowat Leslie Newton Dr. John and Mrs. Margaret Noakes James and Cheryl Peacock Aileen Pelzer Dr. Chris Penney and Mrs. Betty Penney Cameron and Amanda Reid Moness Rizkalla and Susana Bustillo Ernest F. and Adele Roberts Rock Energy Inc. Wolf Rothmann Ann Roy Mary and Mary Cristina Rozsa de Coquet Deborah Sanderson Jack and Marie Sazie Elizabeth Scott Carter Siebens and Ellen Siebens Ian Smythe Southern Alberta Sheep Breeders Perry and Geneva Spitznagel Debbie and Brian Stahl James and Lorna Stewart Claudette Stiven Michael and Broda Stuart Robert and Marni Taylor Ann Ten Pierik Helen Thomson Norma Thurston Tournament Exploration Ltd. Joy Tozer Eileen Van Tighem Arthur and Betty Ward Lawrence and Olga Watson J. Graham Weir Shirley A. Wolfe Hal and Marnie Wyatt In-kind Art donations � (values pending) David Alexander Patrick Canone Ceramsky Artworks Ltd. Mario Malenfant Gilbert Normand Robin Peck Jerry Radowitz Richard Rhodes Helen Ronald Patrick Saurel Edward Schwartz Laurel Smith Yvon Tardif Nancy Tousley-Cameron Marisa Zavalloni Helen Zenith Tamar Zenith Tim Zuck Special thanks to our many anonymous donors in all categories. Glenbow Museum and the Province of Alberta have enjoyed a strong relationship for over 40 years dating back to the museum's creation by an act of the Legislature in 1966. We gratefully acknowledge the Province of Alberta for its ongoing support to enable us to care, maintain and provide access to the collections on behalf of the people of Alberta. 23 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM CreDits Cover: William Perehudoff, AC-81-077, 1981, Collection of Glenbow Museum; Gift of the Artist, 2007.136.010. Page 1: Honouring Tradition exhibition Page 3: Katie Ohe, Puddle I, 1976, Collection of Glenbow Museum. Purchased with the support of the Canada Council for the Arts Aquisitions Assistance Program/ Oeuvre achet�e avec l'aide du programme d'aide aux acquisitions du Conseil des Arts du Canada and with the Glenbow Collection Endowment Fund, 1998.039.001 A-C. Featured in Modernist Art from the Glenbow Collection exhibition. Page 6: David Urban, Like Seeing Fallen Brightly Away, 1998, Collection of Glenbow Museum. Gift of George P. Hartman and Arlene Goldman, 2007.117.110 A and C. Page 7: William Perehudoff, AC-81-077, 1981, Collection of Glenbow Museum. Gift of the Artist, 2007.136.010. Page 8: Gina Rorai, Parade, 2000, Collection of Glenbow Museum. Gift of George P. Hartman and Arlene Goldman, 2007.117.091. Page 9: William Perehudoff, AC-81-077 [detail], 1981, Collection of Glenbow Museum. Gift of the Artist, 2007.136.010. Page 10: From top to bottom: Michael N. Yahgulanaas, Pedal to the Meddle, 2007, Collection of Glenbow Museum; Purchased with funds from the Historic Resources Fund, AA 2210. William Perehudoff, AC-81-077 [detail], 1981, Collection of Glenbow Museum; Gift of the Artist, 2007.136.010. Page 11: Clockwise from left: 1914-1920 British War Medal, Collection of Glenbow Museum, C-54150; Modernist Art from the Glenbow Collection exhibition. Page 12: From top to bottom: Leather chaps originally owned by Flores LaDue (Mrs. Guy Weadick), ca. 1920, Collection of Glenbow Museum; Gift of Lenore J. McLean, Stimson Creek Ranches. Linda Curtis at work, ca. 1970-74, Collection of Glenbow Archives, PA-3818-43. Page 13: Glenbow's Artpad: A Collection. A Connection. (www.glenbow.org/artpad) and Impress: Prints, Artists and Ideas (www.glenbow.org/impress) websites. Page 14: Historical Art from the Glenbow Collection exhibition Page 15: Modernist Art from the Glenbow Collection exhibition Page 17: Clockwise, from left to right: George Webber, Braiding Maria's Hair, Little Bow Colony, 2000, Collection of Glenbow Museum. Gift of George Webber, RCA, 2006.003.042. Antique Christmas Postcard, ca. 1909-1912, Collection of Glenbow Archives. Page 49: Dennis Oppenheim, Device to Root Out Evil, 1997; This exhibit has been facilitated by the Glenbow Museum with the generous support of the Benefic Foundation, Vancouver, B.C., owner of the work. Page 52: William Perehudoff, AC-81-077, 1981, Collection of Glenbow Museum; Gift of the Artist, 2007.136.010. 24 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 FinanCiaL reVieW contents 25 ManaGeMent discussion & analysis 26; ManaGeMent's report 30; auditors' report 31; stateMent of financial position 32; operatinG fund stateMent 33; stateMent of operations and chanGes for restricted, endowMent and desiGnated fund balances 34; stateMent of cash flows 36; notes to the financial stateMents 37; board of Governors 48 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM ManageMent DisCUssiOn & anaLYsis THE FOLLOWING DISCUSSION AND ANALYSIS SHOULD BE READ IN CONJUNCTION WITH THE ACCOMPANYING AUDITED FINANCIAL STATEMENTS AND OTHER INFORMATION CONTAINED IN THIS ANNUAL REPORT. overvIew And operAtInG results Fiscal year 2009 was a very difficult year for Glenbow. The organization faced significant pressures both internally and externally. GLENBOW MUSEUM OPERATING REVENUE GOVERNMENT OF ALBERTA INVESTMENT INCOME FUNDRAISING ADMISSIONS AND MEMBERSHIPS COMMERCIAL ACTIVITES AMORTIZATION OF DEFERRED REVENUE PROPERTY AND EQUIPMENT $ 2009 3,489,000 1,666,781 2,021,244 1,145,457 944,016 762,013 $10,028,511 In the face of a challenging economy, operating revenues declined significantly between the year ending March 31, 2008 and March 31, 2009. Operating revenues were $1.7m or 14.5% less than in the previous twelve months. The largest shortfalls began to occur in the fall and winter months making it difficult to reduce costs and scale back operations quickly enough to prevent a deficit which rose to $1.6 m by year end. � heonlyrevenuesourcewhichincreasedduringtheyearwasthecontractualfeewiththeProvinceofAlberta T for the provision of care, maintenance and allowing public access to the Provincial collection. This annual fee increased by $55k to $3.5m, an increase of 1.5%. � evenuefromincomeearnedbyGlenbow'sendowmentandquasi-endowmentfundswascappedat5.5% R of the funds' market value at the date that the operating budget was approved. The value of the funds in the spring of 2008 when the operating budget for the year was approved were approximately $3m less than at the same point in time in the prior year. Overall investment income allocated to the Institute as operating revenues consequently decreased by $346k. This source of funding continues to represent 17% of total operating revenues annually to the organization. �nthefaceofaweakeconomy,andasaresultofsignificantchangesinGlenbow'sdevelopmentteamand I fundraising approach, funds generated from fundraising intiatives fell by $1m year on year. The impact of this decrease was particularly difficult to manage. With the constraints in the economy, support for exhibits and programs which is normally in place 12 to 18 months before the program begins or the exhibit opens, were negotiated and finalized much closer to the actual event dates with consequent cash flow difficulties. As the economic crisis accelerated in the late fall and winter of 2008/09 many of Glenbow's fundraising targets could not be met. Fundraising revenues fell from 26% of 2008 operating revenues to 20% of 2009 operating revenues. � dmissionsandmembershiprevenuedecreasedby7%or$89k.TheMavericksgalleryhasnowbeenopenfor A two years and other permanent galleries are over 10 years old. The strong focus on contemporary art in our temporary exhibit schedule changed our audience base. 26 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 � ommercialandmiscellaneoussourcesofrevenue(whichincludethemuseumshop)showtheimpactofa C difficult year as well. Gross revenues in the shop fell by $120k, however the net margin in the shop showed a slight improvement over previous years. GLENBOW MUSEUM OPERATING EXPENDITURES CORE SERVICES PROGRAM & EXHIBIT DEVELOPMENT $ 2009 3,946,710 2,505,408 1,697,895 1,413,921 COMMERCIAL ACTIVITES & FUNDRAISING COLLECTIONS MANAGEMENT LIBRARY & ARCHIVES DEPRECIATION & AMORTIZATION 711,348 1,339,509 $11,614,791 In the face of a challenging financial position, Glenbow management reduced operating costs by $236k: � ostreductionisdifficulttoimplementrapidlyfororganizationslikeGlenbowwhereasignificantproportion C of the cost base is payroll related and there are many fixed and contractual costs. A hiring freeze was implemented in the fall of 2008 and only strategically critical or revenue generating hires were permitted after this point. All projects were reviewed to determine if they could be cancelled or deferred. Variable costs decreased in some areas as a result of cost saving initiatives. � ayrollcostsincreasedastheGlenbowhonoureda2%increaseforallunionizedstaffrequiredbyamultiyear P collective agreement with CUPE Local 1645. This agreement is effective until June 31, 2010 and a further negotiated pay increase of 3% for union staff will be due July 1, 2009. � rogramandexhibitdevelopmentcostswereslightlylessthaninthepreviousyear.Therewerenosignificant P new permanent gallery development, contract or research costs. � ollectionscostsincreasedduetoanunusuallylargenumberofgiftsofartreceivedbytheInstituteduringthe C course of fiscal year 2009 and in the last quarter of the previous fiscal year. � mortizationcostswerereducedslightly.SincetheopeningoftheMavericksgalleryandtheincreasingcash A flow concerns, very little investment has been made in new property, plant or equipment. property And eQuIpMent Capital expenditures amounted to only $266k during the course of 2009. Many upgrades to property, plant and equipment are now overdue and becoming increasingly urgent, but have been put on hold in fiscal year 2009 and 2010 due to cash-flow difficulties. Significant investment needs to be made in security and IT systems in particular in order for these systems to remain efficient and meet the Glenbow's current and future needs. Most of the $266k spent in the current fiscal year was spent upgrading and replacing essential IT hardware and software and on essential collections storage upgrades to better store and care for the large number of new gifts received. endowMent And QuAsI endowMent Funds The market value of Glenbow endowment and quasi endowment funds decreased substantially during the course of fiscal year 2009. By March 31, 2009 the market value of the funds was $22.7m (March 31, 2008 - $30m). This decrease of over 24% of the value of the funds is of serious concern to the organization, and may significantly impact the Glenbow's ability to continue to operate the business model that has sustained operations since the inception of the Glenbow-Alberta Institute Act of 1996. 27 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM By resolution of the Board of Governors, Glenbow is now permitted to withdraw no more than 5.5% of the market value of the funds for operating purposes as a means of preserving the purchasing power of the funds. The Institute continues to work with professional investment consultants to obtain advice on how best to monitor and measure the performance of its fund managers, establish the most appropriate asset mix, and review and maintain a relevant and current Investment Policy statement that complies with relevant legislation and industry best practices to ensure that the purchasing power of the endowment funds can be maintained in perpetuity. Most of the recommended policy changes were implemented in the fiscal year ending March 31, 2008. Final recommendations were implemented by March 31, 2009. Of ongoing concern is the increasing estimated capital deficiency of $12.6m between the estimated market value of the funds adjusted for inflation and the actual market value of the funds at March 31, 2009. The maintenance of the Founding Fund at these values is a requirement of the Glenbow-Alberta Institute Amendment Act, 1996. The same principle is applied consistently to all of the endowment funds. Measures have been in place to address this issue since 2006, but capital market declines over the past two fiscal years have significantly worsened the situation and management is working to establish a more effective long-term strategy that will reduce the deficiency in the endowment fund capital while maintaining operations and ensure that the capital and investment income of all the Institute's funds are handled appropriately with regards to the origins and restrictions around usage of the funds. An in-depth review of the ongoing performance of all funds is currently underway. lIQuIdIty And cApItAl resources Fiscal year 2009 was extremely difficult to administer from a cash flow perspective. With effect from the second quarter of the year and throughout the final quarters, cash payments exceeded cash revenues substantially. By March 31, 2009 an operating deficit of $1.6m had been incurred. The cash required to sustain operations as this deficit accumulated has been funded by a credit facility of $1.5m with a Canadian chartered bank. operAtIonAl rIsks economic � An economic downturn continues in the energy sector and the Calgary marketplace generally leading to a potential reduction in particular in governmental and fundraising revenues available to the organization. To reduce the risk of reliance on a strong Calgary marketplace, the Glenbow focuses on: �Tryingtofurtherdiversifyrevenuesources �Seekinglocal,nationalandinternationalstakeholdersandsupporters �Minimizingandmaintainingflexibilityinitsoperatingcosts �Carefullyscrutinizingallexpendituresthatresultinlargefixedcostincreases. infrastructure � An aging building which staff, our public and the provincial collection has outgrown has increasing maintenance and capital upgrade needs. To minimize risk, Glenbow 's management and Board of Governors actively pursue and investigate new projects and opportunities that are anticipated to come to fruition in a five to ten year timeframe. 28 leadership � Significant changes to the management structure and managerial philosophy of the organization with significant turnover at the senior management level. Risks are reduced by: � iringaCEOwithanestablishedhistoryandexperienceofthemuseumworldgenerallyandGlenbowin H particular Glenbow MuseuM | AnnuAl RepoRt 2008-2009 � trivingtobeanemployerofchoicebyofferingcareerdevelopment,leadershipsuccessionandother S opportunities to staff generally. audience and reputation � A general trend towards declining attendance is being experienced by museums across North America and the outlook for tourism is still impacted by the US economy and concerns over public health. Risks are reduced by: �Settingconservativeandachievableattendancetargets �Maintainingahighprofileinthelocalandnationalmedia �Continuingtocreateandprofilehighquality,diverse,welldesignedandresearchedexhibitions � eviewingandupdatinginternalpoliciesandprocedureswithrespecttopublichealthissuesandstaying R informed of new developments with respect to pandemic preparedness in Calgary, particularly in the areas of education and public health. huMan resources � The loss of qualified and knowledgeable staff and the inability to recruit qualified people, particularly those with complex specialized skills, leads to the inability to care for the collections and develop credible and engaging content for exhibitions. This risk is managed by: � avingaproactiverecruitmentstrategyinplace H � ompletingajobevaluationassessmentforallstaffpositionswithintheorganization C � ulti-yearcollectivebargainingagreementswithguaranteedpayincreasesandenhancedbenefits M � rovidingtrainingandmentoringtoprepareemployeesforincreasedresponsibility P � upportingawellnessprogramthatencouragesahealthylifestyleandmaintainingabalancebetweenwork S and personal life. outlook As a result of recent and ongoing economic turbulence, Glenbow is facing some significant fiscal and operating challenges in the immediate future. � lenbowcurrentlyhasaoneyearoperatingcontractwiththeProvinceofAlberta'sMinistryofCultureand G Community Spirit. Discussions with respect to a renewed contract for care, maintenance and the provision of public access to the collections have begun; however there is a risk funding from this source may decrease given the current condition of the Alberta economy and the budgetary issues the Province itself will be facing in 2010 and 2011. � iththeappointmentofanewCEOandPresidentinJanuaryof2009,themostsignificantstrategicplanning W exercise undertaken by the Glenbow since 1996 is underway. Vision, mission and mandate are being renewed and reinvigorated and a new strategic plan will be implemented in the winter of 2009/10. � aintainingfinancialsustainabilityandgrowthinbusinessoperationswillbecriticaltoensuringthatGlenbow M can continue to develop and expand the core services it currently provides to the community. � heProvinceofAlberta,throughitsAlbertaInfrastructureandTransportationProgram,iscurrentlyundertaking T a major capital infrastructure project at the facility. Facility upgrades began in January 2009 and will be complete by March 2010. � lenbowremainscommittedtorebuildingavisualartsprograms.Thisinitiativeisakeycomponentofour G strategic planning process. 29 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM ManageMent's rePOrt The financial statements of the Institute are the responsibility of management and the Board of Governors. They have been prepared by management in accordance with accounting principles generally accepted in Canada, applied on a consistent basis. In fulfilling its responsibilities, management has developed, and maintains, a system of internal controls designed to safeguard assets and the collection from loss or unauthorized use and ensure the accuracy of the financial records. The financial statements necessarily include certain estimates which are made after consideration of the information available and using careful judgements. The Board of Governors exercises its responsibilities for financial controls through the Audit/Investment Committee which is comprised of Governors who are not employees of the Institute. The Committee meets with management and the external auditors to satisfy itself that the responsibility of the respective parties are properly discharged and to review the financial statements before they are presented to the Board for approval. Deloitte & Touche LLP have examined the financial statements for the year 2009, and their report to the Board of Governors is presented herein. Kirstin Evenden President & Chief Executive Officer Marion A. Shill Chief Financial Officer & Corporate Secretary 30 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 aUDitOrs' rePOrt To the Board of Governors of Glenbow � Alberta Institute We have audited the statement of financial position of Glenbow � Alberta Institute (the "Institute") as at March 31, 2009 and the operating fund statement and the statements of operations and changes for restricted, endowment and designated fund balances and cash flows for the year then ended. These financial statements are the responsibility of the Institute's management. Our responsibility is to express an opinion on these financial statements based on our audit. We conducted our audit in accordance with Canadian generally accepted auditing standards. Those standards require that we plan and perform an audit to obtain reasonable assurance whether the financial statements are free of material misstatement. An audit includes examining, on a test basis, evidence supporting the amounts and disclosures in the financial statements. An audit also includes assessing the accounting principles used and significant estimates made by management, as well as evaluating the overall financial statement presentation. In our opinion, these financial statements present fairly, in all material respects, the financial position of the Institute as at March 31, 2009 and the results of its operations and its cash flows for the year then ended in accordance with Canadian generally accepted accounting principles. Calgary, Alberta May 21, 2009 Deloitte & Touche LLP Chartered Accountants 31 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM stAteMent oF FInAnCIAl posItIon operatinG fund AS AT MARCH 31, 2009 restricted, endowMent and desiGnated funds total 2009 total 2008 Assets Current: Cash (Note 6) Due from operating fund Merchandise for resale Grants and pledges receivable Accounts receivable and accrued interest Prepaid expenses $ $413,237 -- 260,937 568,805 98,124 53,487 1,394,590 Property and equipment (Note 7) Grants and pledges receivable after more than one year Investments (Note 8) $ 6,020,461 65,000 -- 7,480,051 $ $ -- 32,914 -- -- -- -- 32,914 -- -- 22,716,271 22,749,185 $ $ $413,237 32,914 260,937 568,805 98,124 53,487 1,427,504 6,020,461 65,000 22,716,271 30,229,236 $ $ $472,498 13,891 229,414 1,851,831 121,270 83,980 2,772,884 7,094,454 230,000 30,026,068 40,123,406 lIAbIlItIes And Fund bAlAnces Current: Bank Indebtedness (Note 9) Accounts payable and accrued liabilities Due to restricted funds Deferred revenue (Notes 10 and 11) Long-term: Deferred revenue (Notes 10 and 11) Fund Balances - Unrestricted (Note 12) -Restricted, endowment and designated $ 3,287,391 198,633 -- 7,480,051 $ -- -- 22,749,185 22,749,185 $ 3,287,391 198,633 22,749,185 30,229,236 $ 5,179,187 1,784,913 30,057,625 40,123,406 $ 1,167,277 1,242,101 32,914 1,551,735 3,994,027 $ -- -- -- -- -- $ $1,167,277 1,242,101 32,914 1,551,735 3,994,027 $ -- 1,536,477 13,891 1,551,313 3,101,681 On behalf of the Board of Governors: Mr. Lauchlan J. Currie Chairman of the Board Mr. Herb H. Snowdon Governor 32 The accompanying notes are part of these financial statements. Glenbow MuseuM | AnnuAl RepoRt 2008-2009 opeRAtInG FunD stAteMent FOR THE YEAR ENDED MARCH 31, 2009 2009 $ 3,489,000 19,925 1,646,856 2,021,244 1,145,457 686,507 245,709 11,800 762,013 $ 10,028,511 $ $ 2008 3,434,000 40,688 1,992,564 3,063,151 1,234,465 806,348 303,684 162,351 703,136 11,740,387 revenue Province of Alberta Investment income Allocation of unrestricted investment income from Founding, Legacy, Collections, Library and Designated funds (Note 16) Fundraising (Note 13) Admissions and memberships Museum shop Commercial activities Miscellaneous Amortization of deferred revenue - property and equipment (Note 11) expendItures President's Office Central services Collections Program and exhibit development Library and archives Museum shop Fund development & communications Amortization $ 899,700 3,047,010 1,413,921 2,505,408 711,348 557,806 1,140,089 1,339,509 11,614,791 deFIcIency oF revenue over expendItures $ (1,586,280) $ $ 792,854 3,432,628 1,216,548 2,536,768 701,061 692,421 1,090,403 1,388,401 11,851,08 (110,697) The accompanying notes are part of these financial statements. 33 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM stAteMent oF opeRAtIons AnD CHAnGes FoR RestRICteD, enDowMent AnD DesIGnAteD FunD bAlAnCes restricted and endowMent funds 2009 FOR THE YEAR ENDED MARCH 31, 2009 foundinG fund leGacy fund revenue Investment income Interest, dividends, capital gains and losses Unrealised decline in investments Allocation of unrestricted investment income to operating fund (Note 16) Allocation of unrestricted investment income to restricted fund Donations Miscellaneous $ $ 458,376 (3,311,868) (822,444) -- -- -- (3,675,936) $ $ $244,454 (2,081,538) (551,340) -- 799 -- (2,387,625) expendItures Investment expenses Miscellaneous expenses 26,381 -- 26,381 23,886 500 24,386 deFIcIency oF revenue over expendItures Fund balances, beginning of year Fund balances, end of year $ (3,702,317) 14,980,271 11,277,954 $ (2,412,011) 10,067,684 7,655,673 The accompanying notes are part of these financial statements. 34 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 restricted and endowMent funds (cont.) 2009 2008 collections fund total total desiGnated funds 2009 2008 total total $ $117,453 (1,026,664) (273,072) -- -- -- $ $820,283 (6,420,070) (1,646,856) -- 799 -- $ $801,803 (2,158,004) (1,992,564) 151,771 270,030 -- -- -- -- -- -- -- $ -- $ -- -- -- (151,771) 2,075 12,006 (137,690) $ (1,182,283) $ (7,245,844) $ (2,926,964) 11,823 -- 11,823 62,090 500 62,590 158,219 -- 158,219 -- -- -- -- -- -- (1,194,106) 4,983,334 $ 3,789,228 $ (7,308,434) 30,031,289 22,722,855 $ (3,085,183) 33,116,478 30,031,295 $ -- 26,330 26,330 $ (137,690) 164,020 26,330 35 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM stAteMent oF CAsH Flows operatinG fund 2008 restricted funds 2009 2008 FOR THE YEAR ENDED MARCH 31, 2009 2009 NET INFLOW (OUTFLOW) OF CASH RELATED TO THE FOLLOWING ACTIVITIES operAtInG Deficiency of revenue over expenditures Items not affecting cash Unrealised decline in investments Amortization of property and equipment Amortization of deferred revenue property and equipment $ Changes in non-cash working capital items -- 1,339,509 (762,013) (1,008,784) 47,763 (961,021) $ -- 1,388,401 (703,136) 574,568 483,245 1,057,813 $ 6,420,070 -- -- (888,364) (1,357) (889,721) $ 2,158,004 -- -- (1,064,869) (116,561) (1,181,430) $ (1,586,280) $ ($110,697) $ (7,308,434) $ (3,222,873) InvestInG Proceeds on sale of investments, net of purchases Proceeds (repayment) of bank indebtedness Purchase of property and equipment -- 1,167,277 (265,517) 901,760 net cAsh outFlow (59,261) -- (462,183) (667,120) (1,129,303) (71,490) 889,721 -- -- 889,721 -- 1,175,726 -- -- 1,175,726 (5,704) CASH, BEGINNING OF YEAR CASH, END OF YEAR $ 472,498 413,237 $ 543,988 472,498 -- -- 5,704 -- The accompanying notes are part of these financial statements. 36 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 nOtes tO the FinanCiaL stateMents March 31, 2009 note 1 GenerAl The Glenbow-Alberta Institute (the "Institute") operates under the authority of the Glenbow-Alberta Institute Act, Chapter G-5, Revised Statutes of Alberta 1996, as amended. The Institute is registered as a charity under the Income Tax Act and is exempt from income tax. Ownership of the majority of the collections is held by the Province of Alberta. The Institute is responsible for caring for the collection and providing public access. Accordingly, the collection is not included in the Institute's financial statements. The Institute administers seven collections with over 1.3 million objects, comprised of Cultural History, Ethnology, Military History, Mineralogy, Art, Library, Archives - paper, photographs and negatives. All additions to the collections, including gifts, are approved by the Board of Governors. Deaccessioning of major value collection items requires approval by the Province of Alberta. note 2 nAture oF operAtIons And descrIptIon oF orGAnIzAtIon The nature and business of the Institute is to provide public service through a human history museum, an art gallery, a library and archives. Future operations of the Institute are dependent upon the ability of the organization to attain sufficient funding. The organization is comprised of six work units, the functions of which are as follows: The President's office carries out the functions of the overall administration of the Institute, including human resources. Central services provides board services, accounting, budgeting and financial services, computer services, photography, purchasing, security and building services, volunteer services and carries other unallocated costs such as photocopier leases and communications. Collections makes recommendations on the purchase and acceptance of gifts of art and artifacts and the deaccessioning of collection items, stores and conserves collection items and makes the collection available for display to the public. Program and exhibit development plans, facilitates, coordinates and produces all aspects of the Institute's activities for the public. It also includes the development of publishing programs which reflect the full range of research undertaken at the Institute. Publishing projects include catalogues, books, videos, research notes and multi-media technology. 37 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM Library and archives acquires, catalogues, preserves and makes available to the public and staff published and archival material relating to the history of southern Alberta and Western Canada. Fund development and communication is a division of the Institute responsible for private sector, individual donor and foundation fundraising, facility rentals, the museum shop, grant applications, commercial alliances, advertising and promotion campaigns and new business ventures. note 3 chAnGe In AccountInG polIcIes INVENTORIES On April 1, 2008, the Institute adopted Canadian Institute of Chartered Accountants (I"CICA") Handbook Section 3031, Inventories, retrospectively without restatement which replaced Section 3030, Inventories. This revised standard provided more guidance on the measurement and disclosure requirements for inventories. There was no material impact on the financial statements, other than modifications to the disclosures pertaining to inventories, resulting from implementation (Note 4(d)). CAPITAL DISCLOSURES In October 2007, the Canadian Institute of Chartered Accountants ("CICA") issued Handbook Section 1535 Capital Disclosures, which prescribes standards for disclosing information about an entity's capital and how it is managed. This Section is applicable to financial statements relating to fiscal years beginning on or after October 1, 2007. Accordingly, the Institute adopted the new standard for its fiscal year beginning April 1, 2008. The adoption of this new standard has not resulted in any change in how the Institute accounts for its transactions but resulted in additional disclosure, as presented in Note 17. GOING CONCERN Effective April 1, 2008, the Institute adopted the additional requirement of the CICA Handbook Section 1400, General Standards of Financial Statement Presentation. This Section requires Management to make an assessment of the Institute's ability to continue as a going concern, and to disclose any material uncertainties related to events or conditions that may cast significant doubt upon the entity's ability to continue as a going concern. There was no impact to the financial statements arising from the adoption of this accounting pronouncement. FINANCIAL STATEMENT PRESENTATION Several sections of the CICA handbook have been amended to include not-for-profit organizations within their scope. The amendments apply to interim and annual financial statements relating to fiscal years beginning on or after January 1, 2009 with the recommendation of early adoption. Accordingly, the Institute has implemented amendments to Section 4400, Financial Statement Presentation by Notfor-Profit Organizations. This implementation required the Institute to recognize and present revenue and expenses on a gross basis, given that the Institute is acting as a principal in the transactions. The Institute also adopted the elimination of the requirement to treat net assets invested in property and equipment separately as a part of net assets and instead include them as a component of net assets. The Institute retrospectively adopted this Section effective April 1, 2008. The impact of implementation resulted in a reclassification of the balances on the statement of financial position in fiscal 2008. note 4 sIGnIFIcAnt AccountInG polIcIes And reportInG prActIces 38 These financial statements have been prepared by management in accordance with Canadian generally accepted accounting principles. Glenbow MuseuM | AnnuAl RepoRt 2008-2009 a) Fund Accounting The Institute follows the restricted fund method of accounting for contributions. Loans and advances between the funds are recorded in each fund and are not eliminated in the fund totals on the statement of financial position. i) Operating Fund The Operating Fund accounts for the organization's administration activities, fundraising and the costs of maintaining and allowing public access to the collections. ii) Restricted and Endowment Funds The Founding Fund contains the Devonian Foundation Gift and the Province of Alberta Gift: initially $5,000,000 each. Both gifts are invested in marketable securities and interest bearing deposits. A portion of the investment income earned annually thereon is required by the Glenbow-Alberta Institute Amendment Act, 1996 to be reinvested in order to maintain the value of the gifts increased by inflation. Investment income in excess of the annual inflation amount may be retained in the Fund or allocated to the Operating Fund at the discretion of the Board of Governors. If the value of the gifts falls below its inflation adjusted amount, the income of each gift should be reinvested, unless the Board of Governors approves another use of that income and complies with Section 17.1 of the Glenbow-Alberta Institute Act. The Legacy Fund was established by the Board of Governors and is invested in marketable securities and interest bearing deposits. During 2006, additional endowment gifts were received for the development and maintenance of the Mavericks Gallery and to permanently preserve the Imperial Oil Archival Collection. These have been combined with the proceeds of the T.R. Pat McCloy Library Fund (which was established from the proceeds of a 2002 deaccessioning program of selected items which were not part of the Institute's core mandate, or were duplicates of items accessible in the local community) and the existing Legacy Fund. The Board has specified that an amount of investment income earned thereon must be retained in the Legacy Fund (the "Fund") in order to maintain the value of the Fund, increased by inflation. Any remaining unexpended investment income may be retained in the Fund or allocated to the Operating Fund at the Board's discretion. The Collections Fund was established from the proceeds of a 1995 deaccessioning program for selected international collection items which are not part of the Institute's core mandate. The net proceeds of the deaccessioned items were credited to the Collections Fund. Expenditures from the capital are restricted to the purchase of collection items. The Board has specified that an amount of investment income earned on the Collections Fund (the "Fund") must be retained in the Fund in order to maintain the value of the Fund, increased by inflation. Any remaining unexpended investment income may be retained in the Fund or allocated to the Operating Fund at the discretion of the Board of Governors for "the care and maintenance of the collection." iii) Designated Funds The Institute receives other funds which are designated for special use by donors or by the Board of Governors. It is the Institute's policy to maintain these funds separately as Designated Funds. Transfers for property and equipment asset acquisitions are made annually to the Operating Fund to the extent that Designated Funds have been expended on property and equipment. Designated Funds include grants received from various government and private agencies to finance specific projects and proceeds from the sale of Glenbow-Alberta Institute publications. 39 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM b) Revenue Recognition Restricted contributions related to general operations are recognized as revenue of the Operating Fund in the year in which the related expenses are incurred. All other restricted contributions are recorded directly to the appropriate restricted fund when received. Revenue from admissions and memberships, museum shop and commercial activities are recognized when the service has been provided or persuasive evidence of an arrangement exists, the price to the consumer is fixed or determinable and collection is reasonably assured. Unrestricted contributions are recognized as revenue of the Operating Fund in the year received or receivable if the amount to be received can be reasonably estimated and collection is reasonably assured. Operating grants are recognized as revenue in the period when receivable. Operating grants received for a future period are deferred until that future period. Contributions to Endowment Funds are recognized as revenue in the Endowment Funds. Investment income earned on Endowment Fund resources is recognized in the Endowment Fund. Funds are transferred to the Operating Fund in accordance with terms approved by the Board. Other investment income is recognized as revenue of the Operating or Designated Funds when earned. Net revenues from the deaccessioning of collections items are forwarded to the Province of Alberta on receipt for deposit into a designated account for Glenbow Museum held collections which form part of the Historic Resources Fund of Alberta Community Development. Revenues from the deaccessioning of library items are allocated to the Legacy Fund which includes the T.R. Pat McCloy Library Fund. Expenses of deaccessioning are paid from sale proceeds. c) Donated Services A substantial number of unpaid volunteers have made significant contributions of their time to the Institute's programs. The value of this contributed time is not included in these financial statements, since objective measurement of valuation is indeterminable. d) Donations of books and publications Donated books and publications that would otherwise be paid for by the Institute are recorded at fair value when provided. Because of the difficulty of determining their fair value, such donated items are not recognized in these financial statements. e) Grants and pledges receivable 40 Grants and pledges are receivable when signed documents are received or other documents are available to provide reasonable evidence of a valid grant or pledge. Allowances are provided for amounts estimated to be uncollectible. f) Merchandise for Resale Merchandise for resale is recorded at the lower of cost or net realizable value and is relieved from inventory on a first in first out basis. Glenbow MuseuM | AnnuAl RepoRt 2008-2009 For the year ended March 31, 2009, the sale of merchandise held for resale resulted in the recognition of expenses aggregating $327,777 (2008 - $438,092). There were $Nil in write-downs of inventory to net realizable value required as at March 31, 2009 (2008 - $Nil) and no write-down reversals have been recognized in either year. Merchandise held for resale currently carried at net realizable value aggregated $Nil (2008 - $Nil). g) Property and Equipment Furniture and equipment is recorded at cost and is amortized on a straight-line basis over the estimated useful lives of the assets: computer equipment 33.3%, vehicles and equipment 20%, major renovations 6.67% and furniture 10%. Leasehold improvements and travelling exhibitions are recorded at cost and are amortized over the expected lives of the improvements or exhibitions. New permanent exhibits are recorded at cost and are amortized on a straight-line basis over the expected useful life of the exhibit 10%. An impairment charge is recognized for long-lived assets when an event or change in circumstances causes an asset's carrying value to exceed the total undiscounted cash flows expected from its use and eventual disposition. The impairment loss is calculated as the difference between the fair value of the assets and their carrying value. h) Investments Investments are recorded at fair value. Any changes in fair value are recognized in income for the period and are accordingly reflected in the statement of operations and changes for endowment. i) Financial Instruments The Institute has classified its financial instruments as follows: ASSET/LIABILITY CATEGORY Cash Accounts receivable Grants & pledges receivable Long-term investments Bank indebtedness Accounts payable and accrued liabilities Held-for-trading Loans and Receivables Loans and Receivables Held-for-trading Other liabilities Other liabilities Held-for-trading items are carried at fair value, with changes in their fair value recognized in the Statement of Operations and Changes for Endowment in the current period. "Loans and receivables" are carried at amortized cost, using the effective interest method, net of any impairment. "Other liabilities" are carried at amortized cost, using the effective interest method. At each Statement of Financial Position date, the Institute assesses whether a financial asset carried at cost is impaired. If there is objective evidence that impairment exists, the amount of the loss is measured as the difference between the carrying amount of the asset and its fair value and the carrying amount of the assets is reduced with the loss being recognized in the Statement of Operations and Changes for Endowment and Designated Fund Balances. 41 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM Based on a review of the Institute's contracts, management has determined that there are no embedded derivatives that are required to be accounted for separately as derivatives. The Institute does not engage in hedging activities. Cash, grants and pledges receivable, accounts receivable and accrued interest, investments, bank indebtedness and accounts payable and accrued liabilities constitute financial instruments. Based on available information, the carrying value of the Institute's cash, accounts receivable and accrued interest, bank indebtedness and accounts payable and accrued liabilities approximates fair value as at March 31, 2009 and 2008 due to their short-term nature. Investments are long-term in nature and are recorded at fair value (Note 8). THE ORGANIzATION'S FINANCIAL RISKS ARE AS FOLLOWS equity risk The Institute's endowment and designated fund assets include a large portion of equities. These assets are invested in pooled funds managed professionally by a fund manager appointed by the Board of Directors. The fund manager is governed by an Investment Policy of the Board of Directors, which places certain parameters on investments. The performance of the fund manager is routinely assessed by the Investment Committee of the Board of Directors. The Audit and Investment Committee has authority to make certain changes to asset mix to ensure that the investments are as secure as possible. The value of equities changes in concert with the business, financial condition, management and other relevant factors affecting the underlying organization that issued the securities. In addition, general economic conditions of the markets in which such organizations operate, change, thereby exposing the Institute to fluctuations in value of investments. The fair market value of the managed portfolio at March 31, 2009 is $22,716,271 (2008 - $30,026,068), with 82.2% (2008 � 79.6%) invested in equities (Note 8). liquidity risk In the current economic environment, the Institute may be subject to liquidity risk if required to realize its long term investments in the near term. This risk is mitigated by the fact that the investments are not intended to be realized in the short term. Interest rate risk The Institute is exposed to interest rate risk given that its investments have varying maturity dates. Accordingly, if interest rates decline, the Institute may not be able to reinvest the maturing investment at a rate similar to that of the balance maturing thereby causing fluctuations in investment income. Foreign exchange risk Because a portion of the Institute's investment portfolio and cash accounts are denominated in foreign currencies, the Institute is exposed to fluctuations in those currencies. At March 31, 2009, the foreign content of the managed portfolio was 13.7% (2008 -13.2%) (Note 8). 42 credit risk Management is of the opinion that the Institute is not exposed to credit risk. The Institute's ability to fundraise may fluctuate over time, however the Institute's grants and pledges receivable are not concentrated in one particular sector or group, but are received from a broad variety of individuals and organizations. Glenbow MuseuM | AnnuAl RepoRt 2008-2009 j) Transaction costs Transaction costs incurred for the acquisition or disposition of all financial assets and liabilities are recorded in the statement of operations and changes for endowment and designated fund balances when incurred. k) Use of Estimates The preparation of financial statements in conformity with GAAP requires management to make estimates and assumptions that affect the reported amounts of assets and liabilities and disclosures of contingent assets and liabilities at the date of the financial statements and the reported amounts of the revenues and expenses during the reporting period. The most significant of these estimates are related to the allowances of doubtful grants, pledges and accounts receivable, amortization period for and potential impairment of property and equipment and the accrual of interest and accrued liabilities. Actual results could differ significantly from these estimates. note 5 Future AccountInG chAnGes FINANCIAL INSTRUMENTS Effective for years beginning on or after October 1, 2008, the Institute may elect to adopt the provisions of the CICA Handbook Section 3862, Financial Instruments Disclosures, and Section 3863, Financial Instruments Presentations. These sections require the disclosure of information with regards to the significance of financial instruments of the Institute's financial position and performance, the nature and extent of risks arising from financial instruments to which the Institute is exposed during the year and at the statement of financial position date, and how the Institute manages those risks. These standards replace CICA Handbook Section 3861, Financial Instruments. The Institute is presently considering whether or not it will adopt these sections effective April 1, 2009. If adopted, it is expected that the only effect will be incremental disclosure. FINANCIAL STATEMENT PRESENTATION Several sections of the CICA Handbook have been amended to include not-for-profit organizations within their scope. The amendments apply to interim and annual financial statements relating to fiscal years beginning on or after January 1, 2009. The main features of the amendment are as follows: � ashFlowStatements,Section1540.ThisSectionhasbeenamendedtoincludenot-for-profit C organizations within its scope; � isclosureofRelatedPartyTransactionsbyNot-forProfitOrganizations,Section4460.ThisSection D has been amended to make the language in Section 4460 consistent with Section 3840 Related Party Transactions; � isclosureofAllocatedExpensesbyNot-forProfitOrganizations,Section4470.ThisnewSection D establishes disclosure standards for not-for-profit organizations that choose to classify their expenses by function and allocate expenses from one function to another. The main features of the new section are: � A requirement for an entity that allocates its fundraising and general support expenses to other functions to disclose the policies adopted for the allocation of expenses among functions, the nature of the expenses being allocated, and the basis on which such allocations have been made; and � A requirement for an entity to disclose the amounts allocated from each of its fundraising and general support functions and the amounts and functions to which they have been allocated. The Institute is currently evaluating the impact of these new sections on its financial statements. 43 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM note 6 externAlly restrIcted cAsh bAlAnces Major categories of externally imposed restrictions on cash balances are as follows: 2009 2008 19,005 $ 114,230 Restricted for "Artist's Proof - Prints and Printmaking" project note 7 property And eQuIpMent 2009 accumulated amortization $ 6,553,326 2,928,916 1,213,763 367,810 $ 11,063,815 $ cost Furniture and equipment Leasehold improvements Permanent gallery construction Travelling exhibitions $ $ 8,121,162 3,481,138 5,114,166 367,810 17,084,276 net book value $ 1,567,836 552,222 3,900,403 -- $ 6,020,461 $ $ 2008 net book value 1,842,335 750,798 4,501,321 -- 7,094,454 Included in Permanent Gallery Contruction is the Mavericks Gallery in which amortization began in fiscal 2008, the same year the Gallery was completed and available for use. note 8 InvestMents 2009 Market value Founding Fund Legacy Fund Collections Fund Library Fund Mavericks Fund $ Common and preferred stocks Bonds, debentures and mortgages Cash and short-term deposits $ Externally Managed Funds Portfolio Weighting 11,275,581 4,730,852 3,787,594 1,798,578 1,123,666 22,716,271 18,663,134 3,998,832 54,305 22,716,271 2009 % 17.8 68.5 7.0 6.7 100.0 $ $ 14,978,096 6,222,456 4,982,523 2,365,650 1,477,343 30,026,068 23,912,032 5,666,458 447,578 30,026,068 2008 % 20.4 66.4 6.3 6.9 100.0 2008 Pooled bonds and cash Equities Canadian United States Other foreign note 9 bAnk Indebtedness Bank indebtedness includes advances under the Institute's demand credit facility as of year end. On 44 October 27, 2008 the Institute renewed its demand credit facility in the amount of $1,500,000 with a Canadian chartered bank. The facility bears interest at the bank's prime rate plus 1% per annum and is provided on an unsecured basis. Glenbow MuseuM | AnnuAl RepoRt 2008-2009 note 10 deFerred revenue - expenses oF Future perIods Deferred revenue consists of contributions which the donor has restricted to a specific purpose. These amounts are only recognized as income when expenditures meeting the restriction are made. The Institute complies with these external restrictions. Changes in the deferred revenue - expenses of future periods are: 2009 2008 Balance, beginning of year Plus: Contributions received Less: Amount recognized as revenue during the year Balance, end of year $ 1,485,939 1,667,888 (2,206,366) 947,461 $ 2,273,944 1,181,833 (1,969,838) 1,485,939 Deferred revenue related to expenses of future periods which will be recognized as revenue in less than twelve months is $803,040. The amount which will be recognized in more than twelve months is $144,421. note 11 deFerred revenue - property And eQuIpMent Deferred revenue related to property and equipment represents unamortized amounts of property and equipment which have been donated to the Institute. Changes in the deferred revenue-property and equipment are: 2009 2008 Balance, beginning of year Less: Grants not utilized Less: Amount recognized as revenue during the year Balance, end of year $ 5,244,561 (590,883) (762,013) 3,891,665 $ 5,947,697 -- (703,136) 5,244,561 Deferred revenue related to property and equipment which will be recognized as revenue in less than twelve months is $748,695. The amount which will be recognized in more than twelve months is $3,142,970. note 12 chAnGes In operAtInG Fund bAlAnce Changes in the Operating Fund balances were comprised of: 2009 Balance, beginning of year Deficiency of revenue over expenditures Balance, end of year $ $ 1,784,913 (1,586,280) 198,633 $ $ 2008 1,895,610 (110,697) 1,784,913 note 13 FundrAIsInG Fundraising revenues of $2,783,257 (2008 - $3,766,287) in the operating fund and $799 (2008 - $272,105) in the endowment and restricted funds include cash donations to the Institute and do not include donations of art, artifacts and archival material to the collections which are owned by the Province of Alberta. All contributions received were applied to the charitable activities and the associated operating overheads of the organization. Contributions in excess of 10% of the total gross contributions recognized as revenue during the year amounted to $627,308 and was applied to the redevelopment of the permanent galleries on the third floor. 45 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM The expenses incurred for the purposes of soliciting contributions were $168,032 (2008 - $145,490). Remuneration to employees whose principal duties involve fund-raising amounted to $349,427 (2008 $338,042). The approximate dollar amount of the tax receipts issued by the Institute for items donated to the collection in 2009 amounted to $3,258,487 (2008 - $279,548). Tax receipts for amounts greater than $1,000 are supported by independent appraisals. note 14 pensIon oblIGAtIons The Institute has a defined contribution plan which is available to all full-time and permanent part-time employees. Under the terms of the plan, the Institute matches contributions of up to 5% of employee earnings. In 2009, the Institute contributed $205,868 (2008 - $209,036) in connection with the plan. note 15 donAted servIces The Glenbow Centre is leased to The City of Calgary by the Province of Alberta for a nominal amount of one dollar per year. The City of Calgary, in turn, subleases it to the Institute for the same amount per year. Fair market value of the rental has not been determined. The City of Calgary also provides janitorial, maintenance and utility services for the Glenbow Centre at no cost to the Institute. The value of the services as determined by The City of Calgary based on actual costs was $1,557,544 for the year ended March 31, 2009 (2008 - $1,405,632). This amount has not been included in the Operating Fund statement. note 16 AllocAtIon oF unrestrIcted InvestMent IncoMe As disclosed in Note 4(a)(ii), investment income earned on the funds must be retained in the respective funds in order to maintain the value of the funds, increased by inflation. Management has estimated the value of the funds at March 31, 2009 adjusted for inflation, as follows: Founding Fund $17,953,321 (which is a requirement of the Glenbow-Alberta Institute Amendment Act, 1996), Legacy Fund $10,963,669, and Collections Fund $6,397,213 (both of which are a requirement of the Board of Governors) for a total calculated value to be maintained of $35,314,203. At March 31, 2009, the actual market value of these funds is: Founding Fund $11,275,581, Legacy Fund $7,653,096 and Collections Fund $3,787,594, for a total market value of $22,716,271. Thus there is a deficiency in the capital of each of the funds which is estimated to be $6,677,740 for the Founding Fund, $3,310,573 for the Legacy Fund, and $2,609,619 for the Collections Fund, for a total estimated capital deficiency of $12,597,932. Section 16 (1) of the Glenbow-Alberta Institute Act requires that any capital deficiency in the Founding Fund must be addressed. To this end, the Board of Governors has been examining appropriate measures to address this deficiency and a process to resolve the issue was begun with the passing of a board motion at a meeting of the Board of Governors on November 26, 2008. This strategy needs to be implemented within the next year to continue the viability of the operations of the Institute. The Board has unrestricted authority to manage and expend the income from all other restricted funds. For the sake of simplicity, these funds are managed consistently with the Founding Fund to comply with the spirit of the relevant sections of the Glenbow-Alberta Institute Act. Management is tracking internal investment restrictions as it is their long-term objective to build the internally restricted funds. During the year, a total of $1,646,856 (2008 - $1,992,564) was allocated from the funds to the general operating fund in order to maintain general operations. As this source of funding is a large component of the general operating budget, management must formulate a long-term strategy to achieve the goals of reducing the deficiency in the fund capital while maintaining operations. Management is in the process 46 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 of developing this strategy. The allocations from the endowment funds to general operations have continued after year end. The estimated amount owing back to the funds from the general operating fund, being the capital deficiency of the funds, has not been reflected on the statement of financial position. The estimated capital deficiency will fluctuate from time to time based on market fluctuations and investment portfolio performance. note 17 MAnAGeMent oF cApItAl The Institute defines its capital as the amounts included in its Fund balances. The Institute sets the amount of Fund balances in proportion to risk, manages the Fund structure and makes adjustments in light of changes in economic conditions and the risk characteristics of the underlying assets. The Institute's objective when managing capital is to safeguard its ability to sustain itself as a going concern so that it can continue to provide the appropriate level of benefits and services to its members and stakeholders. A proportion of the Institute's capital is restricted in that the Institute is required to meet certain requirements to utilize its endowment fund balances. (Note 16) The Institute has internal control procedures in place to ensure the restrictions are met prior to utilization of these resources and has been putting measures in place to ensure that it remains in compliance with these restrictions throughout the year. Management and the Board of Governors carefully considers fundraising campaigns, grants, sponsorship, investment income and the Institute's contractual relationship with the Province of Alberta to ensure that sufficient funds will be available to meet the Institute's short and long-term objectives. The Institute monitors its financial performance against an annual budget. Surpluses from unspent operational activities are accumulated under Unrestricted Fund Balances. In the event that revenues decline, the Institute will budget for reduced distributions and reduced operational expenditures. While an annual budget deficit may periodically arise, no such deficit shall be allowed to exceed the total funds available under the Unrestricted Fund Balances. 47 AnnuAl RepoRt 2008-2009 | Glenbow MuseuM BOarD OF gOVernOrs FOUNDER Eric Harvie,* O.C., C.D., Q.C. BOARD OF GOVERNORS board chair past chair Ian A. Bourne corporate secretary and treasurer Marion Shill Assistant corporate secretary Lauchlan J. Currie vice-chairs Vacant PAST CHAIRS Eric L. Harvie,* O.C., C.D., Q.C., 1954�1966 The Hon. Mr. Justice N.D. McDermid,* Q.C., 1966�1969 James C. Mahaffy,* 1969�1970 W. Donald C. Mackenzie,* 1970�1974 The Hon. Douglas S. Harkness,* O.C., 1974�1977 Jane T. Edwards,* 1977-1980 D. Edwin Lewis,* C.D., Q.C., 1980�1984 E. David D. Tavender, Q.C., 1984�1988 Catherine Evamy, 1988�1991 Frederick F. Abbott, 1991�1994 J. Sherrold Moore, 1994�1997 Robert G. Peters, 1997�2000 A. Webster Macdonald, Jr., Q.C., 2000�2002 Randal L. Oliver, 2002�2004 *deceased George E. Bezaire, Chair, Development Committee Gail O'Brien Governors Ian A. Bourne Brian Calliou John Cardiff Richard Cormack Anne Crawford Joanne Cuthbertson, Chair, Collections & Access Committee Kirstin Evenden, President & CEO Rod Green Robert J. Herdman James P. Keough, Chair, Governance Committee Donna Livingstone Jean Merriman Dr. Vettivelu Nallainayagam Michael J. Robinson Richard A. Shaw, Q.C. Herb H. Snowdon, C.A., Chair, Audit & Investment Committee Myron Stadnyk Jack Thrasher, Q.C. BOARD COMMUNITY REPRESENTATIVES Larry Birchall Dr. Anne E. Calvert Lance Carlson Bonnie Dumont Phyllis Konrad FELLOWS Robert M. Borden N. Glenn Cameron Catherine M. Evamy Robert R. Janes, Ph.D. The Hon. E. Peter Lougheed, P.C., C.C., Q.C. Joy Maclaren Michael P. Robinson, C.M. E. David D. Tavender, Q.C. HONOURARY APPOINTMENTS Patricia Ainslie, Curator Emeritus of Art Dr. Hugh Dempsey, Chief Curator Emeritus Dr. Marmie P. Hess, O.C., L.L.D., Associate Researcher Ralph Klein, Curator Emeritus of Blackfoot Ethnology Joy Maclaren, Curator Emeritus of Blackfoot Ethnology Ewa Smithwick, Conservator Emeritus 48 Glenbow MuseuM | AnnuAl RepoRt 2008-2009 gLeNBOW iN tHe cOMMuNitY In September 2008, Glenbow Museum partnered with the TORODE Group of Companies to bring a major public art installation to Calgary. Glenbow is grateful to the owners of this sculpture who have generously loaned the work for a period of five years. Dennis Oppenheim's sculpture, Device to Root Out Evil, a six metre tall glass, steel and aluminum sculpture depicting an upside down church, has been installed in Calgary's neighbourhood of Ramsay. At Ramsay Crossing, this compelling sculpture offers all Calgarians an opportunity to be inspired, challenged, excited and engaged by Dennis Oppenheim's internationally acclaimed work. The artist's work is in some of the most prestigious collections in the world including the Tate Gallery in London, England and the Metropolitan Museum of Art in New York City. Visit Dennis Oppenheim's sculpture, Device to Root Out Evil, in the neighbourhood of Ramsay at 803 � 24 Avenue S.E. Upcoming exhibitions Real Life: Ron mueck and guy ben-ner Organized by the National Gallery of Canada October 17, 2009�January 24, 2010 michael nicoll Yahgulanaas Exploring Haida Manga October 17, 2009�January 24, 2010 connections to collections: Jeff thomas and paul Wong October 24, 2009�February 21, 2010 War brides: one Way passage November 6, 2009�February 14, 2010 the nude in modern canadian Art February 13, 2010�April 25, 2010 Kent monkman: the triumph of mischief February 13, 2010�April 25, 2010 130 � 9 Avenue S.E., Calgary, AB. 403.268.4100 www.glenbow.org