I am deeply indebted to Anna Hudson and Sara Angel for seeing me as the right person to take on this exploration of Falk’s work. My own understanding of Falk is rooted in the writing of the many art historians, critics, and curators who have engaged with her practice over the course of her long career, and I am especially grateful for the foundational insights and overviews provided in the work of Robin Laurence, Jane Lind, and Ann Rosenberg. The words and images on these pages would not have been possible without the kind and committed support of Jocelyn Anderson, Rosie Prata, and Monique Johnson. My deepest gratitude is, of course, reserved for Gathie Falk, who is just as remarkable as her work.
From the ACI
The Art Canada Institute gratefully acknowledges the generosity of the Title Sponsor of this book, the Circle of Supporters for Canadian Women Artists.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
The ACI also thanks the other Title Sponsors of the 2021–2022 Canadian Online Art Book Project: Marilyn and Charles Baillie; Alexandra Bennett in memory of Jalynn Bennett; Kiki and Ian Delaney; Blake C. Goldring, CM, MSM, CD.; Lawson Hunter; the Honourable Margaret Norrie McCain; The Stonecroft Foundation for the Arts; and Trinity Development Foundation.
We thank the 2021–2022 Season Sponsors of the Art Canada Institute: the Connor, Clark & Lunn Foundation; The Scott Griffin Foundation; The McLean Foundation; and The Jack Weinbaum Family Foundation.
We are grateful to the Art Canada Institute Leaders: Anonymous; Anonymous; Alexandra Baillie; John and Katia Bianchini; Christopher Bredt and Jamie Cameron; Linda and Steven Diener; Roger and Kevin Garland; Joan and Martin Goldfarb; Tim and Darka Griffin; Lawson Hunter; Richard and Donna Ivey; The Michael and Sonja Koerner Charitable Foundation; Alan and Patricia Koval Foundation; McCarthy Tétrault LLP; Bill Morneau and Nancy McCain Foundation at Toronto Foundation; Partners in Art; Sandra and Jim Pitblado; Tim and Frances Price; Gerald Sheff and Shanitha Kachan Charitable Foundation; The Donald R. Sobey Foundation; The Stonecroft Foundation for the Arts; TD Bank Group; Fred Waks; Bruce V. Walter and Erica Walter; Eberhard and Jane Zeidler; and Sara and Michael Angel.
Appreciation goes as well to our Patrons: Anonymous; Diana Billes; Eric and Jodi Block; Malcolm Burrows and Barbara Dick; Debra and Barry Campbell; Anne-Marie Canning; Cowley Abbott; Lilly Fenig; Jane and Michael Freund; Leslie S. Gales and Keith Ray; The Lindy Green Family Charitable Foundation; Reesa Greenberg; Jane Huh; Elaine Kierans and Shawn McReynolds; Trina McQueen; Gilles and Julia Ouellette; Judith and Wilson Rodger; Fred and Beverly Schaeffer; Michael Simmonds and Steven M. Wilson; Andrew Stewart and Kathy Mills; Carol Weinbaum; and Robin and David Young.
Gratitude goes as well to our Founding Patrons, who supported the Art Canada Institute in its first year: Jalynn Bennett, The Butterfield Family Foundation, David and Vivian Campbell, Albert E. Cummings, The Fleck Family, Roger and Kevin Garland, Glorious and Free Foundation, Gluskin Sheff + Associates, The Scott Griffin Foundation, Gershon Iskowitz Foundation, The Michael and Sonja Koerner Charitable Foundation, Michelle Koerner and Kevin Doyle, Phil Lind and Ellen Roland, Sarah and Tom Milroy, Partners in Art, Sandra L. Simpson, Stephen Smart, Nalini and Tim Stewart, and Robin and David Young.
The Art Canada Institute would like to thank the following for their assistance: Art Gallery of Greater Victoria (Salma Naili, Stephen Topfer); Art Gallery of Guelph (Rebecca Daggett, Shauna McCabe); Art Gallery of Ontario (Alexandra Cousins); Equinox Gallery (Sophie Brodovitch); Cowley Abbott (Rob Cowley, Anna Holmes); Figure 1 Publishing (Lara Smith); Global Anabaptist Mennonite Encyclopedia Online (Richard Thiessen); Heffel Fine Art Auction House (Ward Bastian, Molly Tonken); Kamloops Art Gallery (Krystyna Halliwell); Kelowna Art Gallery (Clea Haugo); MacKenzie Art Gallery (Timothy Long, Marie Olinik); Manitoba Museum (Nancy Anderson); McMichael Canadian Art Collection (Sarah Milroy, Shi Qiu, Teija Smith); Michael Gibson Gallery (Jennie Kraehling); Morris and Helen Belkin Art Gallery (Brandon Leung, Teresa Sudeyko); National Gallery of Canada (Raven Amiro); National Gallery of Canada Library and Archives (Philip Dombowsky); Oakville Galleries (Theresa Wang); The Reach Gallery Museum (Kris Foulds); SITE Photography; Textile Museum of Canada (Roxane Shaughnessy); University of Alberta Museums (Emily Beliveau); University of British Columbia AMS Permanent Collection (Maya Rodrigo-Abdi); University of British Columbia Library (Chelsea Shriver); University of Lethbridge Art Gallery (Juliet Graham, Andrea Kremenik); Vancouver Art Gallery (Danielle Currie); Waddington’s Auctioneers and Appraisers (Solomon Alaluf, Ellie Muir); Western Front (Anna Tidlund); and Michael de Courcy, Tom Gould, Murray Hayes, Nomi Kaplan, Glenn Lewis, Liz Magor, Andrea Margles, Pamela Margles, Jane Martin, Cindy Mochizuki, Michael Morris, Nikki M. Quintal, Carol Sawyer, and Rachel Topham.
The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
Credit for Cover Image
Gathie Falk, Single Right Men’s Shoes: Blue Running Shoes, c.1973. (See below for details.)
Credits for Banner Images
Biography: Gathie Falk in 2019. (See below for details.)
Key Works: Gathie Falk, 196 Apples, 1969–70. (See below for details.)
Significance & Critical Issues: Gathie Falk, Pieces of Water: Royal Wedding, 1981. (See below for details.)
Style & Technique: Gathie Falk, Home Environment, 1968. (See below for details.)
Sources & Resources: Gathie Falk, Night Sky #6, 1979. (See below for details.)
Where to See: Gathie Falk, Single Right Men’s Shoes: Bootcase with 6 Orange Brogues, 1973. (See below for details.)
Credits: Gathie Falk, Heavenly Bodies Again #20, 2016. (See below for details.)
A Bird Is Known by His Feathers Alone (performance at the National Gallery of Canada, Ottawa, in 1972), 1968. Visual Resources Collection, National Gallery of Canada Library and Archives, Ottawa.
Chorus, 1972, performance at the National Gallery of Canada, Ottawa, in 1975. Visual Resources Collection, National Gallery of Canada Library and Archives, Ottawa.
Chorus (performance at the Vancouver Art Gallery), 1972. Photo credit: Nomi Kaplan.
Skipping Ropes (performance at the National Gallery of Canada, Ottawa, in 1975), 1968. Visual Resources Collection, National Gallery of Canada Library and Archives, Ottawa. Photo credit: Mayo Graham.
Skipping Ropes (performance at the National Gallery of Canada, Ottawa, in 1975), 1968. Visual Resources Collection, National Gallery of Canada Library and Archives, Ottawa.
Some Are Egger Than I (performance at the New Era Social Club, Vancouver), December 31, 1969. Photo credit: Michael de Courcy from the Intermedia Catalogue.
Credits for Photographs and Works by Other Artists
Arearea, 1892, by Paul Gauguin. Collection of the Musée d’Orsay, Paris. Photo credit: Google Art Project.
Blaues Pferd I, 1911, by Franz Marc. Collection of the Lenbachhaus, Munich. Photo credit: Google Art Project.
Canadian Pacific to Canada, c.1920, by A.C. (Alfred Crocker) Leighton. Wallace B. Chung and Madeline H. Chung Collection, University of British Columbia Library, Vancouver (CC-OS-00391). Courtesy of the University of British Columbia Library Rare Books and Special Collections.
Crazy Quilt, c.1890, by an unknown artist. Collection of the Textile Museum of Canada, Toronto, from the Opekar / Webster Collection (T94.0380). Courtesy of the Textile Museum of Canada.
Installation view of Border in Four Parts in Gathie Falk at the National Gallery of Canada, Ottawa, 2002. Courtesy of the Visual Resources Collection, National Gallery of Canada Library and Archives, Ottawa.
Installation view of Development of the Plot series in Gathie Falk at the National Gallery of Canada, Ottawa, 2002. Courtesy of the Visual Resources Collection, National Gallery of Canada Library and Archives, Ottawa.
Installation view of Four Places: Allan Detheridge, Gathie Falk, Liz Magor, An Whitlock at the Vancouver Art Gallery, 1977. Photo credit: Joe Gould.
Installation view of Gathie Falk at the National Gallery of Canada, Ottawa, 2002. Courtesy of the Visual Resources Collection, National Gallery of Canada Library and Archives, Ottawa.
Installation view of Gathie Falk at the National Gallery of Canada, Ottawa, 2002. Courtesy of the Visual Resources Collection, National Gallery of Canada Library and Archives, Ottawa.
Installation view of The Things in My Head at Equinox Gallery, Vancouver, 2015. Courtesy of Equinox Gallery. Photo credit: SITE Photography.
John’s Mountie Boots, 1973, by Marilyn Levine. Collection of the MacKenzie Art Gallery, Regina (1973-12 a&b). Photo credit: Don Hall, courtesy of the MacKenzie Art Gallery.
Lamentation over the Dead Christ, c.1483, by Andrea Mantegna. Collection of the Pinacoteca di Brera, Milan. Photo credit: Wikimedia Commons.
Mennonite Girls’ Club, Winnipeg, with Gathie Falk seated far right, 1944. Courtesy of Gathie Falk.
Object, 1936, by Meret Oppenheim. Collection of the Museum of Modern Art, New York (130.1946.a-c).