NOW BULLETIN
Artworks, Letters and Printed Matter from the Garry Neill Kennedy Collection 1968 – 2019
September 19 – December 12, 2020
Guest Curator: David MacWilliam
For over fifty years, Garry Neill Kennedy has been making and collecting art. Much of what he has collected relates to his arrival in Halifax in 1967, as the new President of the Nova Scotia College of Art and Design (NSCAD). His personal collection marks some of the seminal moments in NSCAD’s history as well as tracing relationships that have unfolded ever since. The collection attests to the ongoing importance and impact of these interpersonal relationships on the development of a national and international art scene, beginning locally and expanding into the larger art community in Canada.
In his 23-year sojourn at the College, Garry Neill Kennedy reinvented the art school as a forum for thinking and making. NSCAD’s unique program streams, including the Anna Leonowens Gallery, the Lithography Workshop, the NSCAD Press and the Visiting Artists Program, were broadcast via the Now Bulletin, a daily printed posting about the events happening at the College that day and week. NOW BULLETIN, the exhibition, reveals through a history of objects and archives, how Kennedy also had the vision, opportunity and good fortune to meet, invite, collaborate and become friends with a number of pivotal and game-changing Canadian and international artists, many of whom are represented in this collection.
The exhibition is accompanied by a publication, and a unique artist residency with NSCAD graduate, Kelly Lycan, along with a series of public programs which will be presented online throughout the course of the exhibition, with presentations by NSCAD students and graduates, including Alexander Birchler, Allyson Clay, David Craig, Teresa Hubbard, Ingrid Koenig, Landon Mackenzie, Anne Ramsden, Marina Roy and Martha Wilson. For a full program and schedule of events, see our events page.
Griffin Art Projects is grateful to lenders Cathy Busby and Garry Neill Kennedy, the Morris and Helen Belkin Gallery, UBC, for their generous loans to the exhibition and Rachel Topham for her contribution and documentation. This exhibition, public program and residency has also been presented with generous funding from the Canada Council for the Arts, the BC Arts Council, North Vancouver Recreation and Culture, the Canadian Museums Association, Emily Carr University’s Art Apprenticeship Network that is administered through The Shumka Centre for Creative Entrepreneurship and the Griffin Foundation.
Installation view, from left to right: NOW Bulletin: Monday, May 29, 1972 offset print xerox on coloured paper; Garry Neill Kennedy, Remembering Names (New York Tech), c1990s, yellow ink on yellow lined paper, Collection of the Artist; Garry Neill Kennedy, Remembering Names (Cal Arts), 1974, ink on paper, Collection of the Artist; Garry Neill Kennedy, Summary Drawing, 1977, graphite and coloured pencil on paper, Collection of the Artist; June Leaf, Portrait of Dion and John, 1987, oil on canvas; photo Rachel Topham Photography
NOW Bulletin: Monday, May 29, 1972 offset print xerox on coloured paper
Installation view, from left to right: Garry Neill Kennedy, Remembering Names (New York Tech), c1990s, yellow ink on yellow lined paper, Collection of the Artist; Garry Neill Kennedy, Remembering Names (Cal Arts), 1974, ink on paper, Collection of the Artist; Garry Neill Kennedy, Summary Drawing, 1977, graphite and coloured pencil on paper, Collection of the Artist; June Leaf “Dear Garry Of The Golden Years)” letter, August 11, 1997 ink on paper; June Leaf “Dear Kennedys, I’m Remembering the Smelt Hunt” letter, n.d., Ink on paper; June Leaf, Portrait of Dion and John, 1987 oil on canvas; photo by Rachel Topham Photography
Lawrence Weiner, Portrait of Garry Neill Kennedy, 1990, photograph with irregular matte
Installation view, from left to right: Garry Neill Kennedy, Q (from QUID PRO QUO), 2015, acrylic on canvas, Collection of the Morris and Helen Belkin Art Gallery, University of British Columbia, Gift of the artist, 2015; Lawrence Weiner, Wave After Wave, Marian Goodman Gallery: 3 April 2002, signed NYC, 2002 offset lithography, folded poster; Lawrence Weiner, Unter Den Linden, n.d., rubber stamp with red ink on paper; Lawrence Weiner, A Box Made of Wood Built Upon the Ashes of a Box Made of Wood, n.d., die-cut stencil on pulp board; Lawrence Weiner, Placed Over a Space…, Chinese Chance New York City exhibition announcement, n.d., colour lithograph on paper; Lawrence Weiner, Northern Polar Circuit, 1986, ink drawing with blue ink rubber stamp marks on folded paper; Lawrence Weiner, All Built In The Same Erector Set, January 28, 2000 photocopy of a thermal fax; Lawrence Weiner, Mi Casa Es Su Casa, n.d., original drawing on cut card, in folk art frame; Lawrence Weiner, Far Away Hills…, September, 1986, ink and watercolour drawing on paper; Lawrence Weiner (with Cathy Busby and Garry Neill Kennedy), Leafing through Posters: November 1965—April 1986 and printer’s dummy, 2020 video, 17 min 58 sec; Lawrence Weiner, Portrait of Garry Neill Kennedy, 1990, photograph with irregular matte; Garry Neill Kennedy, Untitled Drawings, 2019, ink on paper; Garry Neill Kennedy, 3 Reproductions: Mr. Garry Neill Kennedy with Mr. Michael Snow, 1971, black and white photograph; Garry Neill Kennedy, Studio International: Journal of Modern Art, Vol.184, No. 948, page 141 October, 1972, Letterpress; photo Rachel Topham Photography
Installation view, from left to right: Garry Neill Kennedy, Studio International: Journal of Modern Art, Vol.184, No. 948, page 141 October, 1972 Letterpress; Garry Neill Kennedy, My Grade Four Class, Cote de Neiges School in Montreal, P.Q. 1946, 1970, digital print photograph with ink; Garry Neill Kennedy, My Grade Four Class, Cote de Neiges School in Montreal, P.Q. 1946, c. 1946, original archival photograph; Garry Neill Kennedy, St. Catharines Saints Basketball Team (circa 1953), 1953, original archival photograph; Garry Neill Kennedy, St. Catharines Saints Basketball Team (circa 1953), 2019, digital print photograph with ink, Collection of the Artist; Garry Neill Kennedy, Remembering Names (St. Catharines), 1969, two pages, graphite on lined paper; Garry Neill Kennedy, Remembering Names (Montreal), 1969, two pages, graphite on lined paper; photo by Rachel Topham Photography
Installation view, from left to right: Joseph Beuys, Poster, 1973, silkscreen on newsprint, edition 82/180; Joseph Beuys, Two Untitled Drawings, n.d., graphite on paper napkins; Joseph Beuys, “Dear Garry Kennedy” Letter, 1976, ink on paper; Donald Judd, De Toqueville, 1971, offset print on paper; Bruce Nauman, Body Pressure, 1974, poster, offset printing on pink paper; Richards Jarden, Running in Place (simulation), 1970, offset lithographs, six black and white photographs, text card, manila envelope; Richards Jarden, Falling, 1970, offset lithographs, seven black and white photographs, text card, manila envelope; Richards Jarden, High Tide (simulation), 1970s, offset lithographs, six black and white photographs, text card, manila envelope; Richards Jarden, Sunset (simulation), 1970s, offset lithographs, seven black and white photographs, text card, manila envelope; Richards Jarden, TRAFFIC JAM, 1970, offset lithographs, seven black and white photographs, text card, manila envelope; Richards Jarden, Cinderella, 1970, offset lithographs, seven black and white photographs, text card, manila envelope; Richards Jarden, Facial Angle, 1970s, offset lithographs, ten black and white photographs, text card, manila envelope; Richards Jarden, Untitled (proposed layout for Avalanche Magazine, Fall 1971), 1970, black and white contact print photographs on paper; Andy Warhol, Vote McGovern, 1972, silkscreen, Gemini G.E.L. Los Angeles, edition 250; Andy Warhol, Letter on Andy Warhol films, Inc. letterhead, 1972, ink on paper; photo Rachel Topham Photography
Joseph Beuys, Poster, 1973, silkscreen on newsprint, edition 82/180
Installation view, from left to right: Joseph Beuys, Poster, 1973, silkscreen on newsprint, edition 82/180; Joseph Beuys, Two Untitled Drawings, n.d., graphite on paper napkins; Joseph Beuys, “Dear Garry Kennedy” Letter, 1976, ink on paper; Vitrine: Joseph Beuys, Intuition Box, 1968, wood; Richard Artschwager, Blip, c. 1970s, resin with felt base; Richard Artschwager, Blip, c. 1980s, rubber on paper; Sherrie Levine, 2 Shoes for $2, 1977, black leather with brown laces, a pair of size 2 boy’s shoes; N.E. Thing Co., Art Is All Over, 1972, button/metal pin; Susanna Heller, Two Buoys Sculpture, 1980, wood & nickel chain; N.E. Thing Co., NETCo VSI Business Card, c. 1969, offset printing two sides on card stock, Donald Judd, De Toqueville, 1971, offset print on paper; Bruce Nauman, Body Pressure, 1974 poster, offset printing on pink paper; Richards Jarden, Running in Place (simulation), 1970, offset lithographs, six black and white photographs, text card, manila envelope; Richards Jarden, Falling, 1970, offset lithographs, seven black and white photographs, text card, manila envelope; Richards Jarden, High Tide (simulation), 1970s, offset lithographs, six black and white photographs, text card, manila envelope; Richards Jarden, Sunset (simulation), 1970s, offset lithographs, seven black and white photographs, text card, manila envelope; Richards Jarden, TRAFFIC JAM, 1970, offset lithographs, seven black and white photographs, text card, manila envelope; Richards Jarden, Cinderella, 1970, offset lithographs, seven black and white photographs, text card, manila envelope; Richards Jarden, Facial Angle, 1970s, offset lithographs, ten black and white photographs, text card, manila envelope; Richards Jarden, Untitled (proposed layout for Avalanche Magazine, Fall 1971), 1970, black and white contact print photographs on paper; photo Rachel Topham Photography
Installation view, from left to right: Martha Wilson Posturing, 1973 colour photograph in original frame chosen by artist; June Leaf, Merry Christmas Everyone, June and Robert, n.d., painting on tin can; Robert Frank, Letter (and envelope), Feb 22, 1974, ink on paper; Robert Frank, Untitled Photostat, 1985, photo collage (on NSCAD letterhead); Robert Frank, Laguna Beach, California, postcard signed June & Robert, c. 1984 postcard; June Leaf, Photograph of June Leaf and Garry Kennedy, c. 1986, colour photograph; June Leaf Garry’s Eye, n.d., graphite on paper; June Leaf “Dear Garry Of The Golden Years)” letter, August 11, 1997 ink on paper; June Leaf “Dear Kennedys, I’m Remembering the Smelt Hunt” letter, n.d., Ink on paper; June Leaf, Portrait of Dion and John, 1987 oil on canvas; photo by Rachel Topham Photography
June Leaf “Dear Garry Of The Golden Years)” letter, August 11, 1997 ink on paper
Installation view, from left to right: Martha Wilson Posturing, 1973 colour photograph in original frame chosen by artist; June Leaf, Merry Christmas Everyone, June and Robert, n.d., painting on tin can; Robert Frank, Letter (and envelope), Feb 22, 1974, ink on paper; Robert Frank, Untitled Photostat, 1985, photo collage (on NSCAD letterhead); Robert Frank, Laguna Beach, California, postcard signed June & Robert, c. 1984 postcard; June Leaf, Photograph of June Leaf and Garry Kennedy, c. 1986, colour photograph; June Leaf Garry’s Eye, n.d., graphite on paper; June Leaf “Dear Garry Of The Golden Years)” letter, August 11, 1997 ink on paper; June Leaf “Dear Kennedys, I’m Remembering the Smelt Hunt” letter, n.d., Ink on paper; June Leaf, Portrait of Dion and John, 1987 oil on canvas; Garry Neill Kennedy, GARRY NEILL KENNEDY, 1986, graphite, ink, yellow pencil crayon, eight drawings on gridded vellum paper, Collection of the Artist; Garry Neill Kennedy, An Eye for An Eye, 2014, silkscreen print with six colour variations; photo by Rachel Topham Photography
Installation view, from left to right: Joseph Beuys, Poster, 1973, silkscreen on newsprint, edition 82/180; Joseph Beuys, Two Untitled Drawings, n.d., graphite on paper napkins; Joseph Beuys, “Dear Garry Kennedy” Letter, 1976, ink on paper; Donald Judd, De Toqueville, 1971, offset print on paper; Bruce Nauman, Body Pressure, 1974 poster, offset printing on pink paper; Gerald Ferguson, Maintenance Painting #54, 1979, latex on canvas; Gerald Ferguson, Maintenance Painting #77, 1979, latex on canvas; Kaspar Koenig, 6136, n.d., colour photocopy with ink on paper; Garry Neill Kennedy, Four Seasons – Spring, 1998, paint colour chips and drawings; Garry Neill Kennedy, Four Seasons – Summer, 1998, paint colour chips and drawings; Garry Neill Kennedy, Four Seasons – Fall, 1998, paint colour chips and drawings; Garry Neill Kennedy, Four Seasons – Winter, 1998, paint colour chips and drawings, Collection of the Artist; photo Rachel Topham Photography
Installation view, from left to right: Garry Neill Kennedy, GARRY NEILL KENNEDY, 1986, graphite, ink, yellow pencil crayon, eight drawings on gridded vellum paper, Collection of the Artist; Garry Neill Kennedy, American History Painting (Cross Section), 1991-2011, Photograph, Collection of the Artist; Kaspar Koenig, Various Postcards, Drawings, Printed Matter / Correspondence, dates various, offset lithography and ink on paper; Garry Neill Kennedy, An Eye for An Eye, 2014, silkscreen print with six colour variations; photo Rachel Topham Photography
Kaspar Koenig, Various Postcards, Drawings, Printed Matter
Installation view, from left to right: Emmett Williams, Portrait of Garry Neill Kennedy, 1970, silkscreen, artist proof (framed with Group Portrait); Emmett Williams, Group Portrait, 1970, silkscreen, artist proof (framed with Portrait of Garry Neill Kennedy); Emmett Williams, Letter, n.d., ink on paper; James Lee Byars, The Black Book (100 Questions), 1971, black tissue paper (with gold offset lithograph), (verso) typed list of 100 questions on paper; James Lee Byars, Letter on American Airlines Letterhead, n.d., red ballpoint ink on paper; Jan Dibbets, Art & Project Bulletin 56, June, 1972, offset lithograph, one fold; Sol Lewitt, Art & Project Bulletin 43, September, 1971, folded offset lithograph on paper; Sol Lewitt, Letter, n.d., ink on paper; Gilbert & George, The Greeting Cards, Early Days, 1973, offset lithography on card stock; Gilbert & George, The Greeting Cards, London Dry, 1973, offset lithography on card stock; photo Rachel Topham Photography
Installation view, from left to right: Gilbert & George, The Greeting Cards, Early Days, 1973, offset lithography on card stock; Gilbert & George, The Greeting Cards, London Dry, 1973, offset lithography on card stock; John Giorno, Poetry Reading, Sept. 18, 1973, offset lithograph on coloured card; John Giorno, Party Invitation Announcement on the Occasion of the Publication of His Book, 1973, offset print; Richard Deacon, Performance at University of Essex, c.1970, offset print, two-sided (signed); John Baldessari, Ingres from Ingres and Other Parables, 1970/72, off-set prints; Miriam Schapiro, December 1974, 1974, silkscreen; David Askevold, Dog Sense, 1986, photograph; David Askevold, Halifax Travelogue, March 1969, Bus Route 12, Midway between every block, 1969, twenty-two black & white photographs; David Askevold, Dashiell Hammett & Martin Shubik (Banbrock),1970, print; David Askevold, The Two Hanks, n.d., three black & white photographs; Ian Murray, The Artist Sees in Many Ways, 1971, photographic print; Ian Murray, Artist’s Gesture, 1970, photo-booth printout, signed on back; Ian Murray, The Artist’s Studio, 1970, photographic print on matte board, signed on back; Ian Murray, The Artist Does a Bit Part, 1970 photo-booth printout; Dan Graham, Ziggurat Skyscraper (signed on back), 1969, photograph; Dan Graham, Horizontal Roll, 1971, performance documentation; Garry Neill Kennedy, Remembering Names (Montreal), 1969, two pages, graphite on lined paper; photo Rachel Topham Photography
Installation view, from left to right: Emmett Williams, Portrait of Garry Neill Kennedy, 1970, silkscreen, artist proof (framed with Group Portrait); Emmett Williams, Group Portrait, 1970, silkscreen, artist proof (framed with Portrait of Garry Neill Kennedy); Garry Neill Kennedy, Q (from QUID PRO QUO), 2015, acrylic on canvas, Collection of the Morris and Helen Belkin Art Gallery, University of British Columbia, Gift of the artist, 2015; Lawrence Weiner, Wave After Wave, Marian Goodman Gallery: 3 April 2002, signed NYC, 2002, offset lithography, folded poster; Lawrence Weiner, Unter Den Linden, n.d., rubber stamp with red ink on paper; Lawrence Weiner, A Box Made of Wood Built Upon the Ashes of a Box Made of Wood, n.d., die-cut stencil on pulp board; Lawrence Weiner, Placed Over a Space..., Chinese Chance New York City exhibition announcement, n.d., colour lithograph on paper; Lawrence Weiner, Northern Polar Circuit, 1986, ink drawing with blue ink rubber stamp marks on folded paper; Lawrence Weiner, All Built In The Same Erector Set, January 28, 2000, photocopy of a thermal fax; Lawrence Weiner, Mi Casa Es Su Casa, n.d., original drawing on cut card, in folk art frame; Lawrence Weiner, Far Away Hills..., September, 1986, ink and watercolour drawing on paper; Lawrence Weiner (with Cathy Busby and Garry Neill Kennedy), Leafing through Posters: November 1965— April 1986 and printer’s dummy, 2020, video, 17 min 58 sec; David Askevold, Dog Sense, 1986, photograph; photo Rachel Topham Photography
Garry Neill Kennedy, Q (from QUID PRO QUO), 2015, acrylic on canvas, Collection of the Morris and Helen Belkin Art Gallery, University of British Columbia, Gift of the artist, 2015
Installation view, from left to right: Lawrence Weiner, Wave After Wave, Marian Goodman Gallery: 3 April 2002, signed NYC, 2002 offset lithography, folded poster; Lawrence Weiner, Unter Den Linden, n.d., rubber stamp with red ink on paper; Lawrence Weiner, A Box Made of Wood Built Upon the Ashes of a Box Made of Wood, n.d., die-cut stencil on pulp board; Lawrence Weiner, Placed Over a Space…, Chinese Chance New York City exhibition announcement, n.d., colour lithograph on paper; Lawrence Weiner, Northern Polar Circuit, 1986, ink drawing with blue ink rubber stamp marks on folded paper; Lawrence Weiner, All Built In The Same Erector Set, January 28, 2000 photocopy of a thermal fax; Lawrence Weiner, Mi Casa Es Su Casa, n.d., original drawing on cut card, in folk art frame; Lawrence Weiner, Far Away Hills…, September, 1986, ink and watercolour drawing on paper; Lawrence Weiner (with Cathy Busby and Garry Neill Kennedy), Leafing through Posters: November 1965—April 1986 and printer’s dummy, 2020 video, 17 min 58 sec; Vitrine: Lawrence Weiner, Posters: November 1965 – April 1986, 1986offset lithography (co-published by Art Metropole and NSCAD Press), 178 pp; Lawrence Weiner, [TURNED] RED AS WELL AS BLACK, March, 1972, postcard; Lawrence Weiner, MOVED PICTURES NYC, c. 1970s, offset printing; Lawrence Weiner, Ships At Sea NOT Ducks on a Pond, n.d., Postcard; Lawrence Weiner, Within Forward Motion, n.d., letterpress on card; Lawrence Weiner, 5 GALLONS WATER BASE TEMPERA PAINT POURED DIRECTLY ON THE FLOOR…, 1969, postcard; Lawrence Weiner, De Pis En Pire, n.d., postcard; David Askevold, Dog Sense, 1986, photograph; photo by Rachel Topham Photography
Installation view, from left to right: Leafing through Posters: November 1965—April 1986 and printer’s dummy, 2020 video, 17 min 58 sec, David Askevold, Dog Sense,1986, photograph; David Askevold, Halifax Travelogue, March 1969, Bus Route 12, Midway between every block, 1969, twenty-two black & white photographs; David Askevold, Dashiell Hammett & Martin Shubik (Banbrock),1970, Print; David Askevold, The Two Hanks, n.d., three black & white photographs; Ian Murray, The Artist Sees in Many Ways, 1971, photographic print; Ian Murray, Artist’s Gesture, 1970, photo-booth printout, signed on back; Ian Murray, The Artist’s Studio, 1970, photographic print on matte board, signed on back; Ian Murray,The Artist Does a Bit Part, 1970, photo-booth printout; Dan Graham, Ziggurat Skyscraper (signed on back), 1969, photograph; Dan Graham, Horizontal Roll, 1971, performance documentation; Garry Neill Kennedy, Remembering Names (St. Catharines), 1969, two pages, graphite on lined paper; Garry Neill Kennedy, Remembering Names (Montreal), 1969, two pages, graphite on lined paper; photo Rachel Topham Photography
Dan Graham, Horizontal Roll, 1971, performance documentation