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Glenbow Museum Annual Report 2008-2009

Facts & Figures Attendance

General Admissions and Programs General Admissions Member Attendance Highest Weekly Attendance (Week of February 16-22 during Marilyn Monroe: Life as a Legend)

Website Statistics

144,442 81,612 9,366 7,813

3,701 3,687

Mail/phone/email inquiries In person visits

School Programs

Adult Programs Family Programs Discovery Room Visitors

*Glenbow used a different website statistic reporting package in the 2008-09 fiscal year which reflects a difference in website visitors from previous years.

Library & Archives


Chevron Open Minds Museum School (number of students who participated in programs) 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

Total website visitors 476,043* Average number of website visitors per day 1,304 Online membership sales and donations $28,984 Online Archive photography sales $56,426

757 3,670 175 45 52,977 1,793 2,319 86 52 148 1,288 462 16,872


200,000+ hours contributed by over 200 volunteers Acquisitions Gifts Number of DONORS

Art Indigenous Studies Cultural History Military History Multi-Disciplinary Archives Library Total Gifts

64 11 15 1 7 114 60 272

number of WORKS Value

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


Special Events

”Hosted“ Events


*(Includes exhibition openings, special bookings, sponsor events and VIP tours.)


Gallery Tours, Behind-the-Scenes and Curatorial Tours Blackfoot & Indigenous Studies Tours Cultural Awareness Training

Number of WORKS Value

Art Indigenous Studies Library & Archives Total Purchases

31 2 44 77

$326,130 60,610 387,541 $774,281

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.


Annual Report 2008-2009 | Glenbow Museum

President’s and Chair’s Message Glenbow has experienced significant change

program, adequate increases in resources did not

this past year. Staffing and leadership changes, changes

immediately follow. This, coupled with the change in

to our exhibition program and the economic downturn

the world economy, is why we post a record deficit for

have all had a substantial impact on the organization. In

the organization this year. Glenbow’s operating model

2007-08, Glenbow’s Board of Governors committed to

is somewhat unique for a Canadian museum. The

a reinvigorated purpose for all of Glenbow and plans for

collections are owned by the Province of Alberta and

rebuilding a visual arts program. From December 2007

as an independent non-profit organization, Glenbow

through to January 2008, Jeffrey Spalding was President

is contracted by the province to care for and provide

and Chief Executive Officer. In January 2009, he resigned

access to the collections on behalf of the people of

his position and the Board of Governors appointed Kirstin

Alberta. Our funding comes from diverse sources. We are

Evenden, then Vice President of Access, Collections and

grateful for the Province of Alberta’s ongoing support to

Exhibitions, to the role of President and CEO. Glenbow

approximately one third of our operations. The rest of the

is grateful for Jeffrey’s energy and commitment to

funding includes grants from Calgary Arts Development,

the institution in the past year, which saw a number of

the City of Calgary, The Government of Canada and

programming changes, more contemporary art and an

foundations. We also rely on a mix of community support

increase in acquisitions across the collection areas.

and earned income such as attendance, memberships, individual donors, corporate sponsorships and a

We have not waivered from our commitment to re-invigorate the institution

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

before; membership and community involvement for

by artists and collectors across Canada in response

the organization is critical to our success. And we want

to the institution’s commitment to a re-invigorated

you to be involved. Tell us your thoughts on how we

arts program. The result is an important infusion of

can continue to evolve and better serve our visitors. We

contemporary Canadian art and some international

encourage you to continue to support Glenbow through

works to the Glenbow art collection. Some of these

memberships, donations and sponsorships to enable the

works are featured in this Annual Report, but look for

museum to grow and meet the community’s needs.

more exhibitions and initiatives in the future which will showcase this remarkable series of acquisitions.

This year was one of transition for the organization. Some

With the rapid change in focus in our exhibition

in the community say that changes have not come

Facing page: Kirstin Evenden, President & Chief Executive Officer and Lauchlan J. Currie, Chairman of the Board

Glenbow Museum | Annual Report 2008-2009


Annual Report 2008-2009 | Glenbow Museum

President’s and Chair’s Message quickly enough to Glenbow, while others have raised

exhibitions and learning opportunities and increase

concerns that we have moved away from our tried and

the profile of artists from this region so that they can

true mandate of showcasing “The West”. Clearly, the

contribute to a national dialogue about our future. We

organization is at a crossroads with regard to its purpose.

must also plan for the future of all of Glenbow; our

To ensure we do what is best for our stakeholders, the

collections are as diverse as our audiences. We are a

community and the collections we care for, Kirstin

museum, an art gallery, a library and an archives.

Evenden launched an ambitious strategic planning process upon her appointment. This process, which involves the

So what does the future for Glenbow look like? Glenbow

community, Glenbow staff, management, members,

will play an important role as a cultural leader for Calgary,

volunteers and the Board of Governors, will ensure we

one that can provide a forum for dialogue about artistic,

bring a renewed focus to the museum’s purpose, enhance

historical and cultural issues in a way that makes a

its relevance as a cultural cornerstone in the city and

significant community impact. What does this impact

beyond and provide valuable and relevant programming to

look like? One local artist tells of how his introduction to

the community. It will also set a course for organizational

Glenbow as a child is the very reason why he became

financial stability. To make this happen, we’ve been

an artist. The addition of a Buddhist shrine from the now

meeting with stakeholders, community leaders, donors,

closed Buddhist church in Raymond, Alberta (the first

members, visitors and non-visitors to hear what the

temple of its kind in southern Alberta) to our Indigenous studies collection means we can provide a touchstone to the community, recalling the

Glenbow will play an important role as a cultural leader for Calgary

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


community needs and expects from Glenbow.

Glenbow’s visual arts program is the recognition that

Early feedback tells us that we must engage with the

our physical facility requires renovation and expansion.

communities we serve and ensure we meet their needs;

Not only is our existing facility in need of upgrades,

we need to ensure our plans are in sync with emerging

but it is clear that Calgary needs Glenbow to step up

trends and address the critical issues of our time. We have

and develop a new stand-alone facility for the visual

a social responsibility to provide access to the collections

arts. In early 2008, Glenbow submitted a proposal to

we maintain but we must do so for a reason. We must

Calgary Arts Development’s Arts Spaces Investment

provide opportunities for visitors to learn from artists and

Process which outlined a conceptual plan to develop a

key thinkers and for our audiences to learn from each

stand-alone visual arts facility, one which would address

other. Through this, Glenbow will be a place that not

Calgary’s lack of a civic art gallery, provide adequate

only preserves history and culture, but actively animates

space for Glenbow’s renowned art collection of some

it, so we can enhance cross-cultural understanding and

30,000 works and expand the institution’s capacity to

generate opportunities for lifelong learning.

bring substantial exhibitions to the city. The process was part of a larger City of Calgary initiative: Reclaiming

The community has ambitions for Glenbow. There are

Calgary’s Cultural Identity: Arts Space Strategy and Capital

expectations that we will rebuild the visual arts program,

Plan, which was based on supporting research, The

make visible changes to the institution, provide more

Current State of Cultural Spaces for the Arts in Calgary.

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

gLen enBOW BOW in the COMMUnit COMMU nitY nit Y

follows a decision by City Council to develop Calgary’s cultural spaces through the commitment of five percent

In addition to offering exhibitions and programs at

of the Municipal Sustainability Initiative Funds ($165

the museum, Glenbow plays a role in the community

million) for culture related infrastructure. This initiative

outside of the museum’s four walls. From school

presents real foresight on behalf of our City’s leadership.

outreach programs to public art installations, Glenbow

We were thrilled to hear that Glenbow’s conceptual plan

continues to consider ways to enhance cultural

for a new building, which asked for $25 million to support

awareness and generate opportunities for lifelong

capital and endowment monies and the donation of

learning through arts and culture.

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.

Artr Art reAch

In an effort to infuse Alberta classrooms with This year will be challenging for us. We need to address

contemporary art from Canadian artists, Glenbow

our current fiscal situation while still maintaining

undertook a new initiative in spring 2009 with the

exhibitions, programs and services for our visitors all

program ArtReach. Developed with the generous

while developing our strategic plan for the next five years.

support of The Canada Council for the Arts - Art Bank,

The community’s support is more important than ever

the ArtReach Contemporary Art Prints Exhibition

to ensure Glenbow can move forward as a valued and

is comprised of 16 original prints by contemporary

relevant cultural cornerstone in Calgary. We need the

Canadian artists that explore contemporary Canadian

community to put their trust in Glenbow by continuing to

printmaking. The prints were installed in exhibitions at

purchase memberships and support us through donations

three secondary schools in Calgary – Queen Elizabeth

and sponsorships. Glenbow will continue to do great

Junior/Senior High School, Crescent Heights High

things under its new leadership and with renewed focus

School and Western Canada High School. During the

and purpose. We gratefully thank Glenbow’s staff and the

three week exhibitions, students examined the works

Board of Governors for their passion and commitment as

up close, referenced Glenbow-developed educational

we move forward. Our vision is to strengthen Glenbow

materials that link to Alberta art curriculum and

as a serious and engaging cultural institution nationally

participated in hands-on workshops and programs with

and internationally. We hope you will join us.

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

AnnuAl RepoRt 2008-2009 | Glenbow MuseuM MuseuM



An interview with art collectors and recent donors George Hartman and Arlene Goldman


In recent years, Glenbow Museum committed

in 2008 in The Big Gift, organized by Glenbow and

to rebuilding its civic and national identity as an art

presented at three public art galleries in Calgary: The

gallery and to take a leading role in the support and

Nickle Arts Museum at the University of Calgary, the

creation of visual art. During that time, George Hartman

Illingworth Kerr Gallery at the Alberta College of Art and

and Arlene Goldman made a major donation of

Design (ACAD) and Glenbow Museum.

Canadian contemporary art to Glenbow’s collection. Encompassing 42 artists and 117 new works, this

George Hartman and Arlene Goldman’s remarkable

donation represents a major injection of art created in

collection of contemporary work reflects their

the last 15 years and, in conjunction with the rest of our

commitment to a new generation of artists. Glenbow

contemporary holdings, positions Glenbow to be part of

is grateful for their gift, which will provide visitors,

a national and international dialogue on contemporary

researchers and students with the opportunity to engage

art. Many of the works from this donation were exhibited

with contemporary issues and the recent practice of

Glenbow Museum | Annual Report 2008-2009

artists from Canada and beyond. Their gift to Glenbow is

really added to the enjoyment of collecting their work,”

considered to be a model for other private collectors and

explains Arlene. “We began reading and researching

corporations in Canada.

artists and shortly after acquiring the first few paintings, our interest in collecting contemporary art grew quickly.”

Meet the Collectors: An Interview with George Hartman and Arlene Goldman

While their collecting and collection reflects international

For George Hartman and Arlene Goldman, collecting

artists as well as Canadian artists, they focused on

has always been a passion. As a young girl, Arlene had

contemporary artists because they were able to meet the

thousands of comic books. George, who moved to

artists in person. “We’re drawn by the fact that we’re here

Canada from Hungary when he was 11 years old, loved

now,” says Arlene. “It’s a much more dynamic experience

sports paraphernalia. At the time they met, George was

if you have the opportunity to meet and get to know the artists personally.”

George Hartman and Arlene Goldman donated 117 works to Glenbow, providing a major expansion to Glenbow’s contemporary Canadian art collection.

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

collecting Canadian antique furniture and china. Over the

part of the appeal.

years together, they amassed other collections – antique televisions, radios, Mennonite and Doukhabor furniture

“When we travelled internationally and monitored the

and folk art, but eventually found their true passion:

international art market, we observed international

contemporary art.

collectors acquiring pieces by Canadian artists abroad without knowing the artists were Canadian,” says George,

“The first contemporary pieces we acquired were about

“We wanted to express our pride and build awareness

10 years ago – paintings by David Urban and Gina

about talented Canadian contemporary artists and their

Rorai. We got to know both of them personally which

inspiring work.”

From donation to exhibition

The painting begins its journey

When an artwork or artifact is donated to a museum,

to Calgary in a climate-

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

packaged and shipped by a fine arts shipping company controlled truck with special suspension to reduce vibration and driven by a specially trained driver. William Perehudoff, AC-81-077, 1981, Collection of Glenbow Museum

Glenbow Collection.

Annual Report 2008-2009 | Glenbow Museum


“We know that one can never be aware of every artist,

new careers of these young, talented artists. We love

or every Canadian artist, but we hope that through our

finding new artists and bringing them to the attention of

interest, we can help build momentum for the exciting

dealers and galleries – it’s great fun particularly as your

The Generosity Of Our Donors

relationship grows with the artist.” Today, to the trained art savvy eye, their collection has a natural evolution. Others have seen themes in

From donation to exhibition 1» AC-81-077 arrives at

infestation (those that do

Glenbow’s loading dock

take a trip into the co2 unit

and is moved into Pest

or our walk-in freezer).

2» The painting goes to

Control where the exterior


packaging is examined

art storage where the

for any signs of damage.

art technicians and

If a work of art or artifact

conservators complete

is shipped in a wooden

a condition report and

crate, it is unpacked and

begin creating a record in

examined to ensure it

Glenbow’s database.

shows no sign of pest Ray Jense and Ray Laniel from the production team move the crate from the loading dock into Pest Control. 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

George Hartman and Arlene Goldman in Toronto in August 2009

of what you like. But then try to get out and meet artists news online and we look forward to when the next

and get to know them.”

issue of an art magazine comes out. It hooks you.” “Remember you don’t need to be rich to collect,” adds George. “Buy or collect what you like. Everyone

“In the last year or two, we’ve spent a lot of time with

else will have an opinion but believe in what appeals

new artists. Through meeting and speaking with artists,

to you. Allow yourself to grow with the collection –

you realize there’s a whole other world out there

you’ll get better. The achievement is to appreciate and

as you listen to and begin to understand the artists’

understand the works as you collect them. You can

perspectives of the world around you. It’s fascinating.”

change with the collection.”

George adds, “And there are great parties in the art world – artists, dealers and museums throw the best

Arlene and George show no signs in slowing down their

parties. You’re welcome even if you don’t wear your

collecting. They continue to be inspired and it is part

business suit. You can be different and it’s welcome!”

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

3» T  he painting is approved

4» O  nce approved by both

by Glenbow’s senior

Glenbow’s Acquisition

management and submitted

Committee and the

for approval to the

Collections and Access

Acquisitions Committee,

Committee, a combination

a combination of staff and

of senior staff, community

community advisors. The

members and members

work is accompanied by a

of the board, AC-81-077

curator’s report explaining

is officially accepted into

how it fits into our collection

the collection and William

mandate, why it’s important

Perehudoff, the artist who

and how we might be able to exhibit the work.

is also the donor, is issued Claude Belleau, painting conservator, examines AC-81-077

a tax receipt. Annual Report 2008-2009 | Glenbow Museum


IndIGenous studIes

neW W aCqUisitiOns at gLenBOW 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 donAt A Ion to exhIbItIon At 5» The art curator continues researching the artist and the artwork and records

considered as significant 7» The Canadian Cultural

detailed information.


Canadian cultural property.

6» Due to the significance of

Property Export Review Board approves the work

the piece, Glenbow submits

as significant Canadian

the painting for certification


by the Canadian Cultural Property Export Review


ltural Prope

Canadian Cu

Export Review


Board of the Department of Canadian Heritage to be

Glenbow MuseuM | AnnuAl RepoRt 2008-2009

Monique Westra, art curator, examines AC-81-077 in art storage area

Military History 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


The Sam Steele Collection

RCMP, the Lord Strathcona’s Horse (Royal

In October 2008, the Glenbow Library acquired the

Canadians), collectors, museums (local,

Ladwig collection of directories which added over

regional and national), and the general public

75 directories to Glenbow’s holdings. This significant

who were thrilled to see the collection that

collection was compiled by Sandra Ladwig of Red

represents nineteenth century Canada’s

Deer who did genealogical research for private clients

most famous military man – Sam Steele.

for many years and, in the process, acquired a huge

Glenbow showcased the medals from this

collection of city directories from cities across Canada.

collection in an exhibition, Jewels of the

Researchers who come to Glenbow make heavy use of

Jacket, this past year. The collection will be

directories such as these. Genealogists like them because

featured in the fall of 2012 when Glenbow

the listings include more information than telephone

develops and presents Canada’s first major

books, such as occupation and spouse’s names.

exhibition on Sir Samuel Benfield Steele.

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» T  he curator integrates the

If you think you have a

work into the narrative

museum-quality piece to

of the new Modernist

donate, visit

exhibition and works with

the designer and production



teams to situate AC-81-077 on the gallery wall.

9» In March 2009, AC-81-077 is featured in the exhibition, Modernist Art from the Glenbow Collection.

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 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

artist, a conservator, a curator and an art dealer. The

websites, Artpad: A Collection. A Connection.

responses from each ‘player’ demonstrate the various

( and Impress: Prints, Artists

ways one can see and appreciate art.”

and Ideas ( Although both were created for high school and post-secondary students respectively, the remarkable content of these

Impress: prints, artists and ideas

two bilingual sites has proven to be of interest to art

Designed to be a powerful research tool for post-

lovers, researchers, dealers and anyone curious about art

secondary art students, Impress offers visitors an

from around the world.

in-depth view of a specific art medium that has deep roots in this province: printmaking. This website

Artpad: A Collection. A connection.

contains a visual and informative database which

Artpad takes a fresh approach to looking at and

materials such as print blocks, newspaper clippings,

engaging with contemporary art from a regional

photographs and sketches, as well as 147 audio and

and national perspective through 55 artworks from

video clips of artist interviews.

includes 1,903 prints, more than 400 print-related

Glenbow’s extensive contemporary art collection. Instead of starting the experience with the usual

Developing these two websites required significant

collection search, visitors can view the art in the

resources, but as Johanna Plant, curator for Impress

context of a dynamic historical timeline, learn more

explains, the results were well worth it. “As is the case

about the creative process through featured artist

in most museums and galleries, the physical space we

interviews, or put their artistic skills to the test by

have to show our collection is far exceeded by the

creating an art installation.

size of the collection; even with frequently changing shows, we are unable to show all the amazing works

Artpad curator Quyen Hoang’s favourite feature on

we hold. By digitizing a significant number of artworks

the website is The Players. “Through audio interviews,

and making them available online, visitors from around

this section examines in detail five works of art from

the world can have access to the collection.”

the perspectives of four ‘players’ in the art field – the


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

Historical Art from the Glenbow Collection

collection in the province and one of the most extensive

Featuring 75 works of art drawn entirely from Glenbow’s

in Western Canada. In spring 2009, Glenbow opened

art collection, this gallery represents the first time in 15

two new art galleries on the second floor - Historical

years that such a sizable and representative selection

and Modernist Art from the Glenbow Collection curated

has been displayed. Ranging from the eighteenth

by Monique Westra and designed by Stephen Dundas

century to the early twentieth century, the works of

Smith. Between the two galleries there are 165 works

art are organized into broad thematic areas: portraits,

of art from our collection now on display. These two

landscape, wildlife, First Nations and the fur trade. Each

galleries, presented side by side, offer a bridge between

grouping comprises several artists, setting up intriguing

Canada’s early art history and the present. 

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

Glenbow Museum | Annual Report 2008-2009

most celebrated wildlife artist in history, Carl Rungius, a

this gallery reflects these varied approaches. In order

favourite of Glenbow founder Eric Harvie who amassed

to highlight the diversity of styles and approaches of

the core of the historical collection – one that has grown

modernist artists in Canada, this exhibition is organized

substantially over the years through purchases and

thematically rather than chronologically, regionally or

through the generosity of donors.

by artistic groups. Modernism is diverse and such an exhibition approach provides visitors an overview of the

Modernist Art from the Glenbow Collection

many ways in which artists worked both regionally and

Reflecting works from the modernist era from the early

nationally during this period.

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

Webber’s photographs.

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

Marilyn Monroe: Life as a Legend

community life with great universal appeal.

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

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

art, multimedia works, paintings, sculptures and collages.

Of Christmas Past

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.

Portrait of an Artist

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

Through the Looking Glass

As a prelude to a comprehensive 2012 exhibition on Sam

September 26, 2008 – November 16, 2008

Steele, one of Canada’s most famous military men of the

This exhibition took a close look at the altered world

nineteenth century, this exhibition featured his incredible

of dream spaces and reversals. Curated by Glenbow’s

grouping of medals now in Glenbow’s collection – jewels

former President and CEO Jeffrey Spalding, this

that summarize his amazing military career. In the thick

exhibition drew connections to the playful, poetic

of the action for almost 50 years, Steele helped make

themes of the Lewis Carroll classic of the same name. It

history in Western Canada from 1870-1918. A fearless

featured regional, national and international artists and a

North-West Mounted Police officer, Steele became a role

mix of Glenbow collections and significant loans.

model for the Mounted Police and for Canadian soldiers.


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

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

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.

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

Dream: A Tale of Wonder, Wisdom & Wishes

traditions of the Native peoples from the Northern Plains

August 18, 2007 to July 6, 2008

and Subarctic regions. Over 200 colourful objects such

Dream: A Tale of Wonder, Wisdom & Wishes, featured

as shirts, moccasins, baskets, story robes, sculptures,

the original artwork of 15 top children’s illustrators from

photographs, paintings and mixed media works were

five countries, including Governor General Award winner

featured. Aboriginal art from the late 1800s through to

Barbara Reid and two-time Caldecott Medal winners

the present was merged to honour the importance of

Leo and Diane Dillon. With watercolour, collage, digital

community, the connection to land and place and the

and plasticine pieces, the exhibition was based on the

tradition of storytelling.

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

Patrick Lundeen

Evelyn Aimis

Canadian Heritage Information Network

David MacWilliam

City of Calgary and Calgary Arts Development Authority

Richard Corso Cheryl Gottselig and Yves Trépanier

New Sun Fund at the Calgary Foundation

Canadian Heritage Museums Assistance Program

Pnina Granirer

David and Gail O’Brien

Eric Hansen Alain Lamoureux

O’Connors Mens and Womens Clothing and Footwear

Angela Nielsen

Olympia Trust Company

Judith Nolte

Marc Ostiguy

Robert and Susan Scott

Zakary Pashak

Rebecca Sisler

Peters & Co. Limited

Jay Sujir

Richard Prince

Ralph Tieleman

Jill Rawlinson

Total E&P Canada Ltd.

Joan Snyder

Virginia Christopher Galleries Ltd.

Suncor Energy Foundation

Eric Berthold

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

THEANON Charitable Foundation $10,000 - $24,999

Tristone Capital Inc.

Jack and Maryon Adelaar

Peter von Tiesenhausen

Alexander Rothney (Sandy) Cross Fund at the Calgary Foundation

Karen Wilkin

ARCIS $50,000 - $99,999

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


TrépanierBaer 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

Masters Gallery Ltd.

Linda and Clayton Woitas

George and Colleen Bezaire

$5,000 - $9,999

Bumper Development Corp. Ltd.

Alberta Clipper Energy

Canadian Art Galleries Ltd.

David and Leslie Bissett

Mr. and Ms. Gord Case

Camcor Partners Inc.

Lauchlan and Karen Currie

Canada Council Art Bank

Joanne Cuthbertson and Charlie Fischer

Judy Chartrand

Enbridge Inc.

Owen Curnoe

John Francis

Devonian Foundation

Guy Gagnon

EnCana Corporation

Galleon Energy Inc.

Chris Flodberg

Great-West Life Assurance Company

Griffiths McBurney and Partners

James and Susan Hill

Glenda Hess

Imperial Oil Foundation Allan and Annette Kolinsky Ron Kostyniuk Michael and Madelyn Lang Marie Lannoo

Paul Colbourne

Bradley Harms Mary M. Hetherington Harley and Rebecca Hotchkiss Stephen Hutchings Jack Jeffrey Monica Kohlhammer

Lawrence W. West Family at the Private Giving Foundation

Verna Jean Fairbrass

Birch Libralto Bill and Corinne Macdonald

Steve and Carolyn Soules

FirstEnergy Capital Corp.

Macleod Dixon LLP

Bob and Pat Steele

Greg Forrest and Margo Helper

Mrs. Alexandra McMeekin

The Kahanoff Foundation

Frederick and Heather Gallagher

Barbara McMorland

University of Lethbridge

Pat Gibson

William Laing

Timothy and Elaine Godfrey

Osler Hoskin Harcourt LLP Painted Pony Petroleum Ltd. Graeme Patterson Ingrid Mary Percy Robert Proudfoot

$1,000 - $2,499

Carolyne Kauser Abbott and Andrew Abbott Aduro Resources Ltd.

RBC Foundation

Alberta Chapter, Germans from Russia Heritage Society

Maria Rees

Brenda Andrews

Edward Schwartz

Elizabeth and Bob Andrews

Richard and Mary Shaw

Kevin and Karen Angus

Jacqui F.C. Shumiatcher

Kenneth and Bernice Baher

Paul Sloggett

Barbara J. Baker

Heather and Herb Snowdon

Mary Barr and Jim Allard

Adrian Stimson

Mr. and Mrs. Edward G. Battle

The Institute For Modern and Contemporary Art

Hazel Bennett

Ronald and Dawn Thrasher $2,500 - $4,999

Douglas Udell Gallery Altia Energy Ltd. Ruth Barker

Federation of Calgary Communities

Best of Bridge Publishing Ltd. Blake, Cassels and Graydon LLP Devon Blean Bountiful Resources Inc. Bow Valley Energy Inc. Peter Boyd and Janet Slade

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

Linda Berreth

Brawn Foundation

James and Helen Laycraft

Bill & Jean Toole Family Donor Advised Fund at the Calgary Foundation

Michele Nowak and Lloyd Buchanan

Robert and Tanis Lefroy Nancy Lever

Bumper Foundation

Longbow Capital Inc.

Calgary Mineral Exploration Group

Bruce Burns

Letha MacLachlan

Sean Caulfield

Calgary Exhibition and Stampede

Lloyd and Tracy Maybaum

Consulate of the United States of America

Calgary Foundation

Kimowan McLain

Calgary Zoo

Rod McDaniel

Roger Crait

Don and Marlene Campbell

Jean and Rod McKay

Daylight Energy Ltd.

Earl Campbell

Lenore McLean

Estate of Dennis Wagner

Bruno Canadien

James and Dorothy McLeod

Estate of Ed Johnston

John Cardiff and Linda Hall

Midnight Oil and Gas Ltd.

Herringer Kiss Gallery

Ziva and Noah Cohen

Brian Lavergne

Anne Crawford

Ministry of Culture and Community Spirit

George Littlechild

Crocotta Energy Inc.

Lorne Carson Pofessional Corporation

David Cruise

MacEwan Family Charity Fund at the Calgary Foundation

William Davis

F. Richard Matthews

Art and Bonnie Dumont

Morna Murray Pirie Foundation

Morris and Ann Dancyger D. Michael Dobbin Dr. Glen E. Edwards Ember Resources Inc. Estate of H.G. Glyde Estate of Joyce Christina Oliver

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

Annual Report 2008-2009 | Glenbow Museum


Thanks to our supporters Stuart and Martha O’Connor

Berens Energy Ltd.

Gerald and Mary Janet Knowlton

Orleans Energy Ltd.

Roy J. Bily

Phyllis Konrad

Marilyn Palmer

Nancy Blair

Nick Kontros

James Pasieka

Bernice Bray

Sandra Ladwig

Rob and Ruth Peters and Family

Reid Brodylo and Carri Clarke

Laricina Energy Ltd.

Rita and Glen Popowich

William G. Buchanan

Livingston Energy Ltd.

Profound Energy Inc.

Calgary and District Labour Council

Peter and Jeanne Lougheed

Robert and Sharon Quinn

Calgary Fish and Game Association

James F.N. and Brenda Mackie

Dr. Michael and Mrs. Catherine Robinson

Canadian Honey Council

Ms. Una Maclean Evans

Vicki Cass

Anne McCaig

Vera A. Ross

Bill Chester

Irene Morgan

Bruce Schultz & Jayne Takahaski

Chinook Country Historical Society

Robert Newell

Rose Scollard

Sandra Clark

Olive Nicholas

Seven Generations Energy Ltd.

David and Gay Claydon

Hubert M. J. Nijssen

Len and Phyllis Shapiro

Jay and Lucy Cross

Mary Perks

Mr. Ramsis Shehata and Mrs. Martina Shehata

John F. Crossley

Maureen Poscente

David and Marion Shill

Evelyn de Mille

David and Drue Robinson

Decidedly Jazz Danceworks Ned Downey

Michael Robinson and Lynn Webster

Drumheller Public Library

John and Donna Rooney

Edmond and Maureen Eberts

Harry and Joanne Schaefer

Jos and Margaretha Eggermont

John Schmidt

Una MacLean Evans

Smithbuilt Hats

Kirstin Evenden

Society for Technical Communications, Alberta Chapter

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


$500 - $999

Alberta Registered Dietitian’s Association

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

Barry R. Aldred

Carrol Jaques

Fraser Balfour

Ian and Julie Jones

Diana and David Ballard

Sheila Kelly and Scott Montgomery

Charles Barlow

Ms. M.G. Eaton and Mr. Kim Kertland

Glenbow Museum | Annual Report 2008-2009

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

Joyce Arnold Mowry Baden G. Allan Baker Beulah and David Barss Margaret Bawden Robert Brewster

Dane and Leonora Bridge

Patricia Lee

J. Graham Weir

George Brookman

Lidia Lemay

Shirley A. Wolfe

H.A. (Sandy) Bruce

Jean Leslie

Hal and Marnie Wyatt

Eleanor Bryan

Douglas and Nancy Long

Larry Buchan

Donald and Doreen Lougheed

Canadian Oil Scouts Association

Dr. E.W. Paul Luxford

Virginia Capen

Colin and Margaret MacDonald

Clayton and Norma Carroll

Joan MacMillan

Doug and Vicki Cass

Helen Maglis

John and Ann Casson

Anitra Mamen

Marc Charest

Neil and Fiona Mattatall

Barbara and Don Christensen

Leota McAlpin

Diane and Alvin Clark

Norman McDonald and Kathy Smith

John Earle Clark and Carol A. Ruzycki

In-Kind Art Donations – (Values Pending)

David Alexander Patrick Canone Ceramsky Artworks Ltd. Mario Malenfant Gilbert Normand Robin Peck Jerry Radowitz Richard Rhodes

Michael and Barbara Morin

Helen Ronald

Katherine Clarke

Ruth B. Mowat

Patrick Saurel

Yanka and Robert Cochrane

Leslie Newton

Dr. Martha Cohen

Dr. John and Mrs. Margaret Noakes

Susan Cowan

James and Cheryl Peacock

Brendan E. Cryan

Aileen Pelzer

Nancy Tousley-Cameron

Thomas and Mary Cumming

Marisa Zavalloni

V.A. Cuthbertson

Dr. Chris Penney and Mrs. Betty Penney

Helen Zenith

Chris Davis

Cameron and Amanda Reid

Tamar Zenith

Walter and Irene DeBoni

Moness Rizkalla and Susana Bustillo

Tim Zuck

Betty and Edward Earle

Ernest F. and Adele Roberts

Robert Elias

Rock Energy Inc.

Dale Ellert and Barbara Snowdon

Wolf Rothmann

Estate of Anna Nowick

Ann Roy

Robert and Norma Farquharson Food Safety Information Society

Mary and Mary Cristina Rozsa de Coquet

Ron and Aileen Freeman

Deborah Sanderson

Richard and Susan Galloway

Jack and Marie Sazie

John and Ethelene Gareau

Elizabeth Scott

David Garneau

Carter Siebens and Ellen Siebens

Fran Geitzler

Ian Smythe

G M Bain Real Estate Services Ltd.

Southern Alberta Sheep Breeders

C.R. and Eleanor Guest

Perry and Geneva Spitznagel

Allison Matthews Hankins

Debbie and Brian Stahl

Patricia and Mike Hantzsch

James and Lorna Stewart

Doug Hawkes

Claudette Stiven

Michael Hawley

Michael and Broda Stuart

Brian G. Holmes

Robert and Marni Taylor

Fraser and Michele Horne

Ann Ten Pierik

Marion Jensen

Helen Thomson

Rhoda Johnson

Norma Thurston

Yvone Kee

Tournament Exploration Ltd.

John and Maria Kimber

Joy Tozer

Karen Konrad

Eileen Van Tighem

Lorne and Patricia Larson

Arthur and Betty Ward

A. Ronald and Barbara Law

Lawrence and Olga Watson

Edward Schwartz Laurel Smith Yvon Tardif

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.

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 achetée 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. ( and Impress: Prints, Artists and Ideas ( 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.


Glenbow Museum | Annual Report 2008-2009



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










1,145,457 944,016




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.

• The only revenue source which increased during the year was the contractual fee with the Province of Alberta 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%.

• Revenue from income earned by Glenbow’s endowment and quasi-endowment funds was capped at 5.5% 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.

• In the face of a weak economy, and as a result of significant changes in Glenbow’s development team and 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.

• Admissions and membership revenue decreased by 7% or $89k. The Mavericks gallery has now been open for 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.

Glenbow Museum | Annual Report 2008-2009

• Commercial and miscellaneous sources of revenue (which include the museum shop) show the impact of a 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.
















In the face of a challenging financial position, Glenbow management reduced operating costs by $236k:

• Cost reduction is difficult to implement rapidly for organizations like Glenbow where a significant proportion 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.

• Payroll costs increased as the Glenbow honoured a 2% increase for all unionized staff required by a multiyear 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.

• Program and exhibit development costs were slightly less than in the previous year. There were no significant new permanent gallery development, contract or research costs.

• Collections costs increased due to an unusually large number of gifts of art received by the Institute during the course of fiscal year 2009 and in the last quarter of the previous fiscal year.

• Amortization costs were reduced slightly. Since the opening of the Mavericks gallery and the increasing cash flow concerns, very little investment has been made in new property, plant or 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.


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.

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.


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.


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:

• Trying to further diversify revenue sources

• Seeking local, national and international stakeholders and supporters

• Minimizing and maintaining flexibility in its operating costs

• Carefully scrutinizing all expenditures that result in large fixed cost increases.

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



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:

• Hiring a CEO with an established history and experience of the museum world generally and Glenbow in particular

Glenbow Museum | Annual Report 2008-2009

• Striving to be an employer of choice by offering career development, leadership succession and other 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:

• Setting conservative and achievable attendance targets

• Maintaining a high profile in the local and national media

• Continuing to create and profile high quality, diverse, well designed and researched exhibitions

• Reviewing and updating internal policies and procedures with respect to public health issues and staying 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:

• Having a proactive recruitment strategy in place

• Completing a job evaluation assessment for all staff positions within the organization

• Multi-year collective bargaining agreements with guaranteed pay increases and enhanced benefits

• Providing training and mentoring to prepare employees for increased responsibility

• Supporting a wellness program that encourages a healthy lifestyle and maintaining a balance between work and personal life.


As a result of recent and ongoing economic turbulence, Glenbow is facing some significant fiscal and operating challenges in the immediate future.

• Glenbow currently has a one year operating contract with the Province of Alberta’s Ministry of Culture and 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.

• With the appointment of a new CEO and President in January of 2009, the most significant strategic planning 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.

• Maintaining financial sustainability and growth in business operations will be critical to ensuring that Glenbow can continue to develop and expand the core services it currently provides to the community.

• The Province of Alberta, through its Alberta Infrastructure and Transportation Program, is currently undertaking a major capital infrastructure project at the facility. Facility upgrades began in January 2009 and will be complete by March 2010.

• Glenbow remains committed to rebuilding a visual arts programs. This initiative is a key component of our strategic planning process.

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


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


Annual Report 2008-2009 | Glenbow Museum


ASSETS Current: $




Cash (Note 6)

Due from operating fund




Merchandise for resale







Grants and pledges receivable




Accounts receivable and accrued interest




Prepaid expenses










Property and equipment (Note 7)


Grants and pledges receivable after more than one year




Investments (Note 8)


















Bank Indebtedness (Note 9)

Accounts payable and accrued liabilities

Due to restricted funds




Deferred revenue (Notes 10 and 11)







Deferred revenue (Notes 10 and 11)




Fund Balances - Unrestricted (Note 12)









— 1,536,477


-Restricted, endowment and designated







On behalf of the Board of Governors:


Mr. Lauchlan J. Currie

Mr. Herb H. Snowdon

Chairman of the Board


The accompanying notes are part of these financial statements.

Glenbow Museum | Annual Report 2008-2009







Province of Alberta

Investment income

Allocation of unrestricted investment income from





40,688 1,992,564

Founding, Legacy, Collections, Library and Designated funds (Note 16)


Fundraising (Note 13)



Admissions and memberships



Museum shop



Commercial activities






Amortization of deferred revenue - property and equipment (Note 11)










President’s Office

Central services




Program and exhibit development



Library and archives



Museum shop



Fund development & communications













792,854 3,432,628


The accompanying notes are part of these financial statements.


Annual Report 2008-2009 | Glenbow Museum





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





— (3,675,936)


— (2,387,625)


Investment expenses


Miscellaneous expenses








Fund balances, beginning of year



Fund balances, end of year


The accompanying notes are part of these financial statements.


Glenbow Museum | Annual Report 2008-2009






































— —
























Annual Report 2008-2009 | Glenbow Museum










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






— (888,364)


— (1,064,869)

Changes in non-cash working capital items









INVESTING Proceeds on sale of investments, net of purchases



Proceeds (repayment) of bank indebtedness



Purchase of property and equipment


















The accompanying notes are part of these financial statements.


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.

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


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

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.

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

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:




Accounts receivable

Loans and Receivables


Grants & pledges receivable

Loans and Receivables

Long-term investments


Bank indebtedness

Other liabilities

Accounts payable and accrued 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.

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).


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:

• Cash Flow Statements, Section 1540. This Section has been amended to include not-for-profit

• Disclosure of Related Party Transactions by Not-for Profit Organizations, Section 4460. This Section

organizations within its scope; has been amended to make the language in Section 4460 consistent with Section 3840 Related Party Transactions;

• Disclosure of Allocated Expenses by Not-for Profit Organizations, Section 4470. This new Section 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.

Annual Report 2008-2009 | Glenbow Museum


Note 6 Externally Restricted Cash Balances

Major categories of externally imposed restrictions on cash balances are as follows:


Restricted for “Artist’s Proof - Prints and Printmaking” project






Note 7 Property and Equipment

2009 2008 Accumulated Net Book Net Book Cost Amortization Value Value

Furniture and equipment

Leasehold improvements





Permanent gallery construction





Travelling exhibitions





367,810 17,084,276





367,810 11,063,815






— 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


2008 Market Value

Founding Fund


Legacy Fund



Collections Fund



Library Fund



Mavericks Fund






1,477,343 30,026,068

Common and preferred stocks



Bonds, debentures and mortgages



Cash and short-term deposits



Externally Managed Funds Portfolio Weighting

Pooled bonds and cash


22,716,271 2009 %


447,578 30,026,068 2008 %






United States



Other foreign





Note 9 Bank Indebtedness

Bank indebtedness includes advances under the Institute’s demand credit facility as of year end. On


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:




Balance, beginning of year


Plus: Contributions received



Less: Amount recognized as revenue during the year



Balance, end of year





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:




Balance, beginning of year


Less: Grants not utilized



Less: Amount recognized as revenue during the year



Balance, end of year





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



2008 $

(1,586,280) 198,633


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.

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

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.


Annual Report 2008-2009 | Glenbow Museum


Past Chair

Eric Harvie,* O.C., C.D., Q.C.

Ian A. Bourne Corporate Secretary and Treasurer

Board of Governors

Marion Shill

Board Chair

Assistant Corporate Secretary

Lauchlan J. Currie



Past Chairs

George E. Bezaire, Chair, Development Committee

Eric L. Harvie,* O.C., C.D., Q.C., 1954–1966

Gail O’Brien

The Hon. Mr. Justice N.D. McDermid,* Q.C., 1966–1969


James C. Mahaffy,* 1969–1970

Ian A. Bourne

W. Donald C. Mackenzie,* 1970–1974

Brian Calliou

The Hon. Douglas S. Harkness,* O.C., 1974–1977

John Cardiff

Jane T. Edwards,* 1977-1980

Richard Cormack

D. Edwin Lewis,* C.D., Q.C., 1980–1984

Anne Crawford

E. David D. Tavender, Q.C., 1984–1988

Joanne Cuthbertson, Chair, Collections & Access Committee

Catherine Evamy, 1988–1991

Kirstin Evenden, President & CEO

J. Sherrold Moore, 1994–1997

Rod Green

Robert G. Peters, 1997–2000

Robert J. Herdman

A. Webster Macdonald, Jr., Q.C., 2000–2002

James P. Keough, Chair, Governance Committee

Randal L. Oliver, 2002–2004

Donna Livingstone


Frederick F. Abbott, 1991–1994

Jean Merriman Dr. Vettivelu Nallainayagam


Michael J. Robinson

Robert M. Borden

Richard A. Shaw, Q.C.

N. Glenn Cameron

Herb H. Snowdon, C.A., Chair, Audit & Investment Committee

Catherine M. Evamy

Myron Stadnyk

The Hon. E. Peter Lougheed, P.C., C.C., Q.C.

Jack Thrasher, Q.C.

Joy Maclaren

Robert R. Janes, Ph.D.

Michael P. Robinson, C.M. Board Community Representatives

E. David D. Tavender, Q.C.

Larry Birchall Dr. Anne E. Calvert


Lance Carlson

Patricia Ainslie, Curator Emeritus of Art

Bonnie Dumont

Dr. Hugh Dempsey, Chief Curator Emeritus

Phyllis Konrad

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

Glenbow Museum | Annual Report 2008-2009


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